Techno Vinyl New Releases - News

Tireless in the design of his obsessions, Leipzig based artist Unclean (Erik Barthel) sculpting his
signature sound on wax for the first time.
Thanks for watching elsewhere if you are looking for storytelling.
The sound not the intentions.
Lack of marketing is marketing.

Limited 150 copies - 180gr

***
The ground you walked on
twenty years ago.
A dash of daylight.
Dawn words and the vacuum
of silent panic.
***

Ambient duo Space Afrika offer a bird's eye view of the city centre at night with Somewhere Decent To Live, their keenly anticipated first album on Sferic - the Manchester-based label they run in conjunction with Will Boyd.

Taking gaseous form as a series of dark blue hues and electromagnetic subbass impulses, the vibe inside is delectably elusive. Unlike their previous transmissions on Where To
Now and Köln's LL.M., the pair's dancefloor urges are dissolved in favour of suggestively mutable ambient frameworks this time, leaving the kicks in the club whilst they appear to float overhead like the dead kid embarking his Bardo in Gaspar Noé's Enter The Void.
Unshackled from dancefloor needs, but still inspired and feeding off its spirit and romance, the pair respectfully acknowledge the undercurrents of Jungle, dubstep, ambient techno and deep house which feed into their home city's late night economy,
dowsing their tributaries back to dub and rendering the findings in a quiet, modestly lush ambient haze with a flawlessly anaesthetising effect.
In firm but gentle style they feel out eight interlinked headspaces, drifting like spectral flanneurs from the Diversions-like opener uwëm/creãtiõn to intercept telepathic thoughts from Teutonic friends in the percolated subs and drizzly ambient clag of sd/
tl, before arriving at the most arresting moment in their catalogue thus far with the masterfully widescreen yet immersive bly and its sublimely smeared timbral thizz.
The 2nd half of the record subsequently describes a more inward journey from wistful loops in u+00B1 to the sylvan 2-step of gwabh and curve feat. Echium, ultimately culminating in the echo chamber melt of dred.

Indipendente (93)

Oliver Torr

Ijo

Regular Customer

Dempa

Hence Therefore

Varum

Ijo

Oliver Torr

Indipendente (93)

Dempa

Hence Therefore

Regular Customer

Varum

Laslo - He Of Minden Nap Vasárnap Delivers Strong With The 10" Vinyl Pressure. Eliptik: A Clanking, Strangely Soothing Ride Into The Bowels Of Hungary. Generativ: Future Bboy Funk For The Motorway Underpass. Alloy For Jaded Ears.

Mannequin V/A - Death Of The Machines vol.1

French duo Ligovskoi are to release Esam, their second artist album and first on Field Records. It features eight expertly crafted tracks that take the listener on a spacey and hypnotic journey towards inner bliss. Formed by Nikolai Azonov and Valerio Selig in 2010, Ligovskoi once again draw on a sound palette that includes samples, synths, vocals, feedback, guitar and field recordings that merge in a painterly and romantic form of music. It recalls vast landscapes, abstract patterns and poetic movement. The title 'Esam' refers to a small, isolated mountain located on the moon, and the album is a journey to a similarly otherworldly landscape absent of human life. It features free improvisations, repetitive patterns and experimental materials that convey a wide range of emotions and styles from weightless shiny atmospheres to dark, heavy and swarming textures, leading the listener to deep contemplation. 'We spend a lot of time exchanging thoughts and feelings about the experiences we had while creating and listening, like old friends looking at clouds and discussing the shapes they see. By publishing our music, we hope that listeners will recognise their own feelings and that they will understand or feel something in common with us.' From sombre musical landscapes made from lingering drones to more uplifting, light emitting tracks, this is a slow burning but high impact album. Tracks like 'Behaim' suspend you in comforting sound, the title track prompts inward reflection and the likes of 'Cortage' is the sound of being listen to the heavens. Esam is a transportive, thoughtful album that takes you deep into a unique musical world.

This is not a mind trip, this is a body journey!
This is not a mind trip, or is it

The Intergalactic Research Institute for Sound is proud to present fresh music from the legendary german duo Air Liquide. Active since 1991, Dr Walker and Jammin Unit have released more than 50 records with their band Air Liquide.

This is their first official outing since 2004, but that does not mean that these two were hiding somewhere for 15 years. Jammin Unit stayed busy with his Jammin Masters - mastering studio and Dr Walker was heavily involved in the Liquid Sky artist collective and they kept making music sometimes undercover, or on remix duty/coproducing with Coldcut and Ninja Tune and other high profile artists.

'This is a Mind Trip' nods to the 94's Love Parade, Dr. Motte, and things that could ring nostalgic for some. However there is no nostalgia in these three tracks. Air Liquide was always looking towards the future and this hasn't changed despite the hiatus between the releases.

We'll spare you more useless chatter about a new take on techno, because this is a mind trip and not a body journey!

And this trip is damn good!

We really think there are no accidents in life, or rather it's chance that makes things happen. When we started our project 'In The Meantime' we could immediately feel a connection, that invisible line joining people who have the same passion and feeling
towards music. We shared emotions and ideas, making music in harmony and mixing our visions like if we knew each other since longtime. This collaboration was a great opportunity for us both artistically and personally.

'In The Meantime' is a project that aims to find new ways of expression mixing ambient, electronic, techno and drone music into original dimensions and evocative atmospheres.

A love beyond...

Peder Mannerfelt plays into the widest angles of his 'power ambient' sound on 'Daily Routine', a killer study into the way rave music intersects domestic life...
The 10 tracks range from decade-old productions to hyper new cut-ups of his brothers' records bought in London in summer '88, but all betray an increasing embrace of complexity and layered, asymmetric design that will keep his ever-growing mob of
followers fascinated at every turn.
The preceding single track 'Temporary Psychosis (VIP)' is a definitive highlight, riding the finest line between deadly rave function and pranging unpredictability, while other dancefloor highlights come on strong in the pointillist rave puncture of 'Sissel & Bass' featuring a killer vocal by Sissel Wincent, and the rabid churn of 'This Machine Shares Memes'.
But that would be to neglect the album's central pschedelic nature and the way it will be used, at home, in prosaic domesticity, where the far flung and undulating topography of
pieces such as the sardonic 'Introductions & Aspiration', the darkside creep of 'Cigarettes (Eurofierceness Mix)', and the exasperated rave of 'How Was Your Day (Numb)' will likely
induce listeners to laugh, bruk out, curl up, and climb the walls in their own personal space.
We're v into this one...

Psychic Yes and Tech Startup founder Rafael fortuitously met on a Berlin dance floor in late 2017. A long period of digital correspondence followed between Berlin and Seattle, culminating in the inaugural release of the Seattle-based Tech Startup label: TS000001. The project, to be released on November 9th, is comprised of 5 tracks built up from initial recordings of percussion, trumpet, and synthesizers honed into drum-focused dance pieces in the melancholy Berlin winter of 2018. Split in function between the two sides, Side A features dancefloor-ready tracks with Side B containing introspective songs geared towards a home-listening environment.

Field recordings of Scottish stone slates mark the opening track Stone Sound, a tribal-leaning dancefloor cut highlighted by syncopated, pounding percussion and discreet melodies. Spacemaker features organic, sparse breakbeats cloaked in bright, hazey melodies. Delicated is a track that delights as a series of melodic characters move around one another in a foggy electronic atmosphere. Aldhini Theme emerges as the standout track on Side B commencing with undulating sequenced bloops and bleeps that slowly build into a hypnotic slow-burner that resolves on a melody.

RS (Rinchoa Stress) began in 2014 as a group of close friends, even before they started producing. The warm shout-outs in closing anthem "Hino RS" reveal the affection they feel for each other, just after the main melodic hook gets going. Things got serious in 2016 when Narciso, then 17, decided to take production seriously and relaunched RS as a proper crew with DJs (himself, Nuno, Nulo and Lima), producers (himself, Nuno and Farucox) and MC (Pimenta).

Out of "Bagdad" (Rinchoa, Rio de Mouro), in under 2 years, RS made a name for themselves with tight, across the board grooves, working melody and metal beats with equal proficiency. "Caipirinha" and "Constipação Do Poco" adopt a more muscular batida architecture and rave on with proper metallic cargaa; "Guerreiro" brings out a brilliant, dissonant main motive, defying some rules of melody and timbre; a string of semi-tarraxos follows: "Lingrinhas" and "Atrevimento" insist on the "wrong" side of melody in less than 2 minutes each and, at 2:04, "Futuro" slows down even more in a reflective mood while all around everything appears to be falling apart (listen closely to the explosions in the distance); on to the longer stretch of "Abertura", a house number where every element seems to follow its own independent course, carefully placed in a separate track, all moving in the same direction. Narciso and Nuno layed down all compositions here, teaming up as the core producers of RS, growing up post DJs Di Guetto (2006 - see our timeline elsewhere on the web) and into the crew's now regular gigs at Príncipe's monthly residency (@Musicbox, Lisbon).

Polish producer CYD joins the ever impressive E-Missions with six leftfield cuts in 'Disassemble Yourself' EP.

Launching in New York last year, the first three E-Missions releases came from co-founders P.Leone and Caiazzo. Since then the label has relocated to Berlin, developing its roster throughout 2018 with quality releases coming from Tred and Rush Plus that further cemented the label's growing reputation as one of the most interesting labels to emerge in recent years. Joining the roster now, CYD aka Karol Kazmierzewski has been making music under various aliases for the best part of two decades and has developed a versatile yet distinct sound as a result.

Swelling synths and grainy effects open the release in 'A Warmness You Can't Touch' before moving into the downtempo beats and scintillating melodies of 'Halcyon Dreams'. Up next, 'One Winged' ups the energy with crashing percussion, twisted effects and serene female vocals, making way for a layered composition complete with echoing atmospherics titled 'Hidden In The Forest'. With its dystopian aesthetic, 'Initiation' is the most ominous on the package, whilst 'Not So Shallow' incorporates chopped samples and quivering chords for a hypnotic conclusion.

DJ Dex aka Nomadico has written and produced 10 new unreleased tracks for this double LP 'The Code Switcha'. It features a range of tempos and sonic dynamics; from the slow burns of 'RTD 60' and '909 Soto Street' to the full on energy of 'Machine Learning for Homeboy' and 'HustLA'. There are also electro funk tracks like 'Still Cruisin', 'Radio 3031323' and 'Backyard Trippin'. Meanwhile, the moods and textures of 'Introversion', 'Innermission' and 'Staring Problem' are for deep listening. All of these are fused together by atmospheric pads, touches of acid and a veteran DJ's sense of rhythm and timing.

Forever cursed with 'deep-' and 'tech-house' labels by the press due to decisions taken 10 years ago before he had any idea how this industry worked, Avatism returns mildly angrier than ever before with 'Ate-Up', an EP the producer actually started writing during an MDMA-induced lucid dream after Vakant label boss spiked his drinks in 2011. To give his poor soul some credibility, we've enlisted AQXDM (Aquarian & Deapmash, fresh from their storming debut on Bedouin Records) and the mysterious Maenad Veyl (Veyl, Pinkman, Death & Leisure) on remix duties.

When asked about the story behind the tracks of 'Journey Through The Outer Darkness from the Inner Light', Jamal Moss answered with a laconic "No story. No dogma. No Hype". After all, his despise of extra-musical paraphernalia is proportional to his productiveness in the studio. But there's always a story. On April 9, 2016, Hieroglyphic Being played a live show in La Casa Encendida of Madrid within the festival Electronica en Abril. Some days later, the recording of the full set was uploaded to YouTube. When we watched it, we were totally captivated. Those eighty minutes of music had the raw power of all of Jamal's body of work, but with a heightened sense of transcendence. Cosmic, spiritual and intensely beautiful, it sounded like a lysergic reinterpretation of Detroit techno transmitted from a galaxy yet to be discovered. As most of the material was unreleased, we reached Jamal in order to try to press it into vinyl. The result is 'Journey Through The Outer Darkness from the Inner Light', a 12" that reunites eight of the individual tracks that conformed that Madrid performance. When inquired about AUM, the sacred sound all the tracks are labeled after, Jamal referred us to a book by author and naturalist Joseph Bharat Cornell. A book that the author himself presents with these words: 'The sound of the Cosmic Vibration is AUM, and listening to it brings the greatest bliss imaginable. AUM is the Omnipotent Force that propels each soul toward Spirit. It's the sacred, inner fire. As you approach the cosmic blaze, you feel at first its radiant, soothing comfort; then, as you come closer - AUM's liberating flames consume you - and bring you to God". There might be "no story and no dogma", but, suddenly, it all makes sense.

Well Street Records maintain their progressive, broken-beat ethos with a classy & dynamic techno trip from elusive producer Ruff Cherry

Peter Van Hoesen presents Uncovered 2008-2018 Vol 1-3 - a three-part, 52 track compilation documenting his sound over ten years of the beloved Time To Express imprint. Consisting of Peter's unreleased tracks, rediscovered sketches and material from his live shows, Uncovered offers a coherent overview of his creative process during this period, deconstructing his inimitable aesthetic across three distinct volumes. Of the three volumes, each one chronicles a different aspect of his sound. Volume 2 shows 19 tracks on display, varying from slow, bass-heavy sludgers to more melodic electronica. The tape is a transparent, ferro copy produced on high-end Tapematic copying machines. All copies are hand-numbered by the artist

Collapsing Market co-founder Eszaid sums up the mood of a Europe on the brink with 'Eurosouvenir', a raw and gloomy debut album inspired by the metaphoric symbolism of 0€
banknotes found at tourist hotspots across the continent. Hoghy recommended if yr into Ron Morelli, Pan Sonic, Rainforest Spiritual Enslavement...
Leading on from Collapsing Market's celebrated release of Persian Classical music by Morteza Hannaneh in 2017, 'Eurosouvenir' further examines Eszaid's fascination with the connections between finance, human emotion, music and art, as previously explored in the impending atmospheres and blunted rhythms of his two previous 12's.
The nine track essay offers Louis Vial a.k.a. Eszaid's most concentrated yet spectral designs, using samples, machines and field recordings to limn a the outlines of overbearing machinery and the feeling of impending dread. But thanks to a fine, suggestive sense of minimalist ambiguity and ghostly inference, the session isn't necessarily pessimistic, allowing for the notion that the darkest hour always comes before dawn, and that beauty may still spring in the space between '..an idealised ancient and creative Dionysian Europe and the current one, where free market and low-cost tourism values stand.'
Working in aesthetic space somewhere between Eszaid's fellow Paris resident, Ron Morelli, Tuning Circuits' 'power electronics' style, and the most stripped down S. English gear, the results
range from pulsating steamroller rhythms such as 'XEU.4217', to isolated, empty stomach tones in 'Derivation Lente' and the subbass rumble of 'Notre Mer' on the first side, before opening
out stealthily in the B-side to more nervously pent feelings between the harmonic shimmer of 'Souvenir 1', the plangent, syncopated drums of 'Alicante', and the tip-toe ready stepper 'GRD.4217'.

Oktave Records returns for the third installment from the label, once again featuring owner and proprietor Jeff Derringer at the helm. The 'Factions' EP shows Jeff at his most direct and robust, with three tracks of meticulously constructed techno.

'Factions' starts the EP and goes straight for the heart of the dance floor, with a tunneling groove that lures the listener into hypnosis before a devastating break takes the track to a whole new level of intensity. This one is for the ravers, no doubt.

The flip side starts with 'Penalty Phase', another floor-focused stunner that features Jeff's signature kick drum and drive, coupled with evolving synth arpeggios and melancholy vibes for those early club mornings as the sun comes up. Finally, 'The Second Plane' slows the tempo down a bit and ends the record with a thoughtful broken beat arrangement reminiscent of early Warp.

'Factions' was written during the winter of 2018 and mastered by Tim Xavier at Manmade Mastering.

Pressed on solid orange vinyl.

MINDCOLORMUSIC present their AUX44 series with another hand selected various release with a lot of new faces delivering a diverse mix of electro acid breaks IDM goodness!

achim Nordwall marks 20 years of his iDEAL label with 'The Black Book', a blinding sweep of original material from JASSS, Stephen O'Malley, Ramleh, Robert Aiki Aubrey Lowe, Carlos Giffoni &
Prurient, Ectoplasm Girls, JH1.FS3, JS Aurelius, Autumns, John Duncan, and many more.The story of iDEAL starts out in London 1998, when Nordwall was living the hardscrabble life: working in an underwear shop near Liverpool Street station; living in a filthy Bayswater apartment; scoring industrial records from the Music and Video Exchange; getting drunk in cheap pubs, and dreaming of starting a new record label and platform. He called it iDEAL, and 180 releases, 20 years later, it has become an invaluable node for non-standard, wayward expressions of modern electronic noise in all its mutable variation.
iDEAL's success and longevity may well be down to the way that Nordwall treated it as a social and artistic home, offering a place where mutually exclusive styles could bed down away from the
mainstream or the genre police, and feed into a much larger, work-in-progress definition of fringe music. 'The Black Book' extends, in the spirit of the label, an idealised compilation of disparate possibilities connected by a sense of musical mystery and chaotic energy.
To focus on just a few highlights, the ever unpredictable JASSS makes a notable inclusion with the serene vignette of LP opener, 'Parental Youth', while Jim O'Rourke unfurls 17 minutes of gloaming post-industrial drone with 'In Regards'. Label friend Jonathan Uliel Saldanha contributes the tense, searching horns of 'Siren Frontier', and Ectoplasm Girls cook up the grim, thrumming electronics of 'Neuropean'. John Duncan parses the airwaves to find the curdling organism of 'Shortwave6', and Frederikke Hoffmeier (Puce Mary) and Jesse Sanes seduce with the narcotic drone-pop of 'At The Bottom Of The Night' as JH1.FS3, alongside a powerful rhythmic oddity from Stephen O'Malley,
a stark death rattle from Trepaneringsritualen as Týr × Reið × Vend with 'nd þau né átto, óð þau né hfðo', and Norn Iron's Autumns 'Lose It' on a mucky acid 'floor swille.

Long live iDEAL!

Pivotal, peerless DJ/selector and Minimal Wave overse'er Veronica Vasicka serves her solo debut on Downwards in 'From Here', a dank industrial-pop workout recorded in 2004 and
now issued for the first time, backed with sick remixes by Regis, Paul Kendall (Depeche Mode, Nitzer Ebb) and Robert Hampson (Loop, Main) in his lesser-spotted Chasm alias.
Penned on analog synth and 4-track tape recorder in 2004, one year before Veronica established the Minimal Wave label, the ripped metal textures and spectral vox of 'From Here' forms a rare snapshot of her daily, diaristic working practice, putting sounds to
tape as a personal form of expression that was never intended to be heard by other ears.
Lucky for us then, that Downwards' Karl O'Connor (Regis) has coaxed this dark, anxious beauty out for release, and teamed it with some very special remixes. 'From Here' renders Veronica in the dark, naturally working against the grain of 2004's
underground dance music trends to pursue her passion for classic and obscure strains of dance music, from New Wave to Italo and early house - all the kind that would turn up on her regular show for East Village Radio, the Manhattan, NYC station she co-founded in 2003. With hindsight, we hear Veronica as a displaced soul doing her thing in a way that would become inarguably more widespread over the coming decade and more, which was in no small part due to her focussed efforts working behind the scenes, overlapping and fomenting a nexus of musics that shared more in common than was usually acknowledged at that time.
Now appearing in 2018, 'From Here' perhaps finally feels at home in the skin of a scene obsessed with ghosts in the machine. And the remixes only emphasise the material's timeless, out-of-joint nature: from a slickly arpeggiated Regis version which sounds like
it could have been made any time between 1981 to 2018, thru to a pummelled and serrated industrial remix from Paul Kendall, who has previously worked on classics by Depeche Mode and Nitzer Ebb, to a killer and maybe surprising highlight from Robert Hampson as Chasm, stoking it with gnashing drum machines and keening dub FX for a sort of industrial-dub-dance-pop sidewinding outta time and place.

MINDCOLORMUSIC with their AUX44 series have got the long expected extended appearance of BROMIC on this, backed with a great selection from ENVMOD!

You know that warm feeling of anticipation, standing on a platform waiting for the train to bring a loved one home to you That's what a new Tilliander record is like for Kontra-Musik. After releasing the monumental Chill Out album under Andreas' Mokira moniker, we took a rather different approach this time, opting for the White Label. Even though the title 'Endor' has nothing to do with the Ewok-inhabited Forest Moon in the Star Wars saga, it's still a decisively green and verdant track, filled with all the sounds of a dense forest. 'Trico' is the quiet lake deep within this forest; a serene spot inhabited with dragonflies, great white pelicans and slinky salamanders that curiously look a bit like Richie Hawtin during his Moby era. We simply love this place and hope that you will too.

ll tracks and patterns were composed in Berlin During a nonstop 48 hours session in November using a Korg Electribe only.

Since the release of their album Wonderland a couple of years ago, Demdike Stare have been recording material for this new doublepack Passion; an asymmetric re-imagining of UK club styles taking in frenzied drum trax, shortwave jungle, pinging dancehall and clipped, post punk riddims. During this time they've been busy curating their DDS label (inc releases from Shinichi Atobe, Mica Levi, Robert Aiki Aubrey Lowe and Equiknoxx, among others) and have been commissioned by both the Groupe de Recherches Musicales (GRM) and the surviving members of Gruppo di Improvvisazione Nuova Consonanza to mine and rework their archives. Enlisting visual artist Michael England (Autechre, Gescom, Leila), they've created a cinematic accompaniment for their collaborative live shows, resulting in the image which adorns this cover - a hybrid/composite portrait exploring/questioning the current use of software in creating hyper reality and the manipulation of the self. The accompanying film Includes documentary footage filmed at a Voguing event in NYC, Blackpool promenade and a Newark, New Jersey roller rink, the end result smudgng the lines between live performance, documentary and sonic cinema. It's an idea that's echoed on Passion, continuing a process Demdike began on their Testpressing series of dismantling lines between analogue and digital realms, between urban realism and fantasy, between experimental, pop and soundsystem cultures. An outlandish configuration of avant-garde and ultimately functional club weapons designed and honed for the weightiest bassbins, it's also their most direct and fucked up record to date - a raucous, joyful 9-track smash that comes off like a night on a glamorous, neon-lit bender.

The sun does not move. The sun has never seen a shadow. - Leonardo da Vinci
Paul and Alessio of Possible Futures believe that some essential fractions in the history of music need to be transmitted in new ways to budding generations. As we seek to bring together a new educational system around contemporary music, we urge anyone with homologous intentions to get in touch.
Over the last 15 years, Possible Futures have been witnesses to the wildest fauna and flora the great nocturnal jungle has to o er.
Possible Futures source their inspiration from the many shades of color that co-exist between black and white on the great designer's palette.
It is through their open and eclectic selections that Possible Futures turn the dancefloor into spaces of self-discovery and musical trance-en-dance.
Possible Futures believe that the eternal act of dancing is one of the most active form of contemplation. Facing our own selves in the mirror of movement, we realize that we indeed are reflections of one another at all times. Compassion forms and in turns gives way to kindness and love.
For this third record, Argentinean expert producer Leonel returns with two long pieces of poetry. Releasing on June 15th, this third edition in the Possible Futures catalog bridge spring into summer in a most gracious manner.
We Cherish Harmony, PF

Swiss producer Audiokern is set to release his Raw Control' EP this November 9th. Audiokern is known for his experimentations with modular sound creation, and having a persistent attitude that
the music world is wide open.' This EP reflects both of these details, using sounds that have most likely never been heard before, and making up its own rules.

The EP begins, interestingly enough, with the Tobias. remix of the track Sorry,' fully two tracks before the original. This placement works to the advantage of the EP, with creeping minimalistic sound bytes that echo within a singular space giving a glimpse of the experimentation that will follow throughout the rest of the EP. Vocal samples surprise the listener as they appear in different places,
seemingly out of time, as rhythms are interlaced just enough to provide a loose fabric upon which to present the rest of the sonic oddities. Despite how disjointed the track is, reverb changes near the
end bring the music closer to the listener, allowing it to deftly wind to a halt.
The second track, Broken Silence,' puts the listener in what seems to be an unending surreal cycle, and evokes the feeling of being stuck in a barren wasteland. Samples that initially seem recognizable
are distorted and transformed, while jarring hums grate against the ears and low, thumping booms seem to predict impending doom.
The original version of Sorry' begins somewhat more steadily than it's remix, with a regularly timed percussion pattern being interrupted sporadically by vocal clips. The speaker in the vocal samples
seems to be stuttering, never able to finish a phrase or an idea besides I'm sorry.' Events that trigger twirling patterns trailing behind them contribute to the somewhat disoriented mood. As the
pace of the track slowly picks up, timing becomes more regular, all of the previously presented samples gain focus, and the chaotic is allowed to transform into the cohesive. This is very important
for the EP as a whole, as the transition settling into comfort prepares the listener for the EP's closing track.

Raw Control,' the grooviest track on the EP, continues and expands upon the cohesive nature that can be heard at the end of Sorry,' a contrast to many other moments on the EP that are full of
uncertainty and purposeful juxtaposition. Squeaks, creaks, and mumbles punctuate the relentless rhythmic base, changing its nature simply by emphasizing specific moments. Halfway through the
track, a shaker sound introduces a more human element to the soundscape that morphs into a hi-hat groove that is almost funky. Despite this development, the track seems to hover underneath a
threshold, pushing against it and stretching it, but never breaking through, a tactic that holds the listener captive for the duration of the track. Whether it is because of the constant but almost
imperceptible background drone or the fading echoes that regenerate and last much longer than they seem they should, Audiokern effectively hypnotizes the listener with Raw Control' and puts
them in a state of zoned-out attention.

Sparse, minimalist, mesmerising Ambient / Ambient Techno excursions.

'Certain combinations of sounds, played through the human body unlock information and frequencies of intelligence. All possibilities exist. There are truly no limitations.' A journey through life and death by Galaxian.

Formerly releasing exclusively for Pact Infernal's label Altar, one half of Pact Infernal steps forward as Nastika with the Black Sun EP. Nastika takes the fright to the floor in a more direct fashion than his work with Pact. Sinuous, eastern tinged waves wash over percussive stomps on 'Yajna' and 'Sati', while the matching Black Sun tunes mark out a unique stylistic territory somewhere between Techno and mysticism. With Black Sun, Nastika further refines his crucial musical accompaniment to the indelible works of Pact Infernal

This album is a collaboration between labels Kontra-Musik and Kess Kill. What would have become of D.A.F. if they had been signed to Trojan instead of Mute back in the day Add a good pinch of absurdism and social realism in the vein of prized film director Roy Andersson and Vanligt Folk might just be the answer. The Gothenburg group's name can be translated to 'common people' and they make use of primitive electronics, drums and skewed vocals - ranging from harsh social commentary to the purely nonsensical - to create their own take on body music. 'Hambo' is the name of a traditional Swedish folk dance that was highly popular among the common people at the turn of the last century. With this album, Vanligt Folk juxtaposes the working class dance phenomena of Hambo with modern day rave culture. This is done in the most blasphemous manner thinkable, as is the way of Vanligt Folk. Concepts like nationalism, race and tradition are all treated with the same merry lack of reverence. The only thing that needs to be respected is The Dance and those who take part in it, whether accompanied by accordions or drum machines. Or both.

3x12"

Listening back to Roman Poncet's first releases on Figure just a couple years ago, they already hinted at the producer's keen technical abilities and a knack for rich texturing, resulting in tracks that were
both carried by force and form. What he delivers now is an impressively mature debut album, ripe with personal creative realization.

On Gypsophila the French producer uses the extended format to slowly shape up a scenery of epic proportions where surprise and constant change lurk around every corner. A certain sense of
progression and evolution runs throughout Poncet's music; it invariably keeps one locked in, no matter for the opening drones of Do Not or the patiently growing Thick Vegetation, which fuses tribal
percussion and choral chants to showcase another of this LP's key features: its dense soundscape, which at once feels inherently electronic yet deeply organic, translating the abstract futuristic themes
of techno into something jam-packed and heady albeit steadily grounded - a listening experience that is as dreamy as it remains tangible.

This holds true for the highly atmospheric synth-lead pieces, such as the cinematic intro Hello You, the elevating arp-ride Epreuve or the suspended celestial groove of Atlas. But equally goes for the floorfocused
rhythms, like relentless steam engine-workout Piege or mid-album mind-trip In Aeternam. Adding even more variety and depth to the mix, the tidal title track is given its own side to explore the
sheer endless expanses of dub...
Bundling the complete range of his influences, Gypsophila marks the pinnacle of Roman Poncet's work to date. Covering a spectrum this broad in his very own way, the album proves as relevant for the
current club scene as it will be for repeated return visits.

Lerosa's 25th solo EP will be released on German label eudemonia. Known for his deep-house sound, the Dublin based Italian producer showcases a different palette for this release. The four tracks gravitate somewhere between Electro, Italo, Synthwave and imaginary film themes. "Glider", a fast electro track, opens the EP combining acid drops and dystopian sci-fi elements. "The Minister' is much slower and serves as an emotional homage to those gone too soon. "Plateau Rosa" connects Italo and Detroit delivering a rolling bassline and glassy synth clouds for the delight of the afterhour-dancefloor. And if Lerosa had scored the soundtrack of a Michael Mann film in the 80's, "Theme of Perception" would have been right at home, a fitting end for this EP. The cover is a painting by the Irish artist Sibyl Montague. It was originally exhibited in London at an exhibition called - Totem'.

Aperture records has always been about discovering new artists and bringing them to the forefront and italy is well-renowned for its electronic music, both former and current. so, from one italian duo (t.e.s.o.) to another... introducing Diaster.
Diaster aka Teo & G grew up in treviso, listening to the most experimental music they could find in their small rural city near venice.
With Matteo inspired by metal and musique concrete and Gianluca a researcher of old electronic/instrumental music, they decided to experiment with their various experiences in house, techno and drum n bass, inserting strata of industry and noise into their material. after 'Enchantments', a debut ep on DVNTT which deserves more recognition, and an accomplished follow up on Subsist records; 'Final Beginner', aperture records brings you their latest contribution; 'Clustered Non Symmetry'.
On first acquaintance, this 8 track album appears on the minimal spectrum; monolithic and indivisible. tension builds slowly and influences, mostly of a similar vintage, come through. arrhythmic incursions of stark and contorted electronics conjure up a hesitant, stealthily-undermined delineative framework.

2x12"

Soma Are Proud To Present The Debut Album From One Of Techno's Most Prolific And Renowned Producers, Tensal. As One Half Of The Duo Exium, Hector Sandoval Has Already Carved Out A Career In Techno Spanning Over 20 Years, With Countless Release On Their Self-run Nheoma, Warm Up Recordings & Pole Group, To Name But A Few. In 2014, He Started The Tensal Project As An Outlet For His Own Productions Which Allowed Him The Scope Of Pursuing The More Direct And Minimalistic Approach With His Music And Also His Dj'ing. After Hooking Up With The Soma Camp In Early 2017 And Releasing A Collection Of Well-refined Singles, Tensal Delivers His Debut Album, Graphical. Searching To Go Beyond The Realm Of Standard Techno, Tensal Lends His Considerable Production Experience To This Project And Creates A Sophisticated And Immersive Album Experience That Flows Gracefully Between Idm And Techno.

With The More Stripped Back Approach At The Forefront Of The Project, Belga Gives Us An Insight Of What To Expect From The Album; A Refined Sequence And Melodic Element Build Gracefully And Hypnotically, Ending Abruptly To Leave You Wanting More. Santolaya Picks Things Up And Brings With It A More Pensive And Exploratory View Before The Droning And Atmospheric Roj0 Leans On A Decidedly More Experimental Side. Aimed At Bringing Tension To The Project, Convulsa's Waves Of Sub Bass And Syncopated Percussion Set The Tone For A Pulsing And Edgy Affair. Tensal Brings 4x4 Into Play With Polariex. Slow Paced Yet Staunch In It's Approach, A Gritty Synth Hook Stands As The Backbone. A More Hypnotic Approach On Egoaio Looks To Bring In The Standard Tensal Sound But As Always, New And Experimental Sounds Are At The Forefront. Closing Out The Album, The Focus Begins To Shift To A More Dance Floor Orientated Attitude. Zomb Is A Quintessential Dj Tool, Drawing On The Power Of Restraint, As Its Gradual Swells Create Perfect Cohesion Throughout. P R U V I 4 Continues The Ongoing Theme Of Tension As Multi Layered Hooks Surge Forth Against A Backdrop Of Forceful Drums And Undulating Noise. Tensal Ends His Debut Lp On A High With The Punishing Mimix. Pounding Kicks And Twisted, Tripped Out Synths Are Driven In Intensity With Chopping High Hats That Slice Through With Vigour.

With Graphical, Tensal Has Constructed A Body Of Work That Is More Than The Sum Of Its Parts; Easily And Intelligently Displaying His Production Prowess By Crafting A Sonically Accomplished Album.

Aleksi Perala returns to Clone/Dub recordings with a lush mini album. Beautiful and bright modern electronix based on the Colundi musical tuning system. (quote Dj Rephlex; "the frequencies were chosen via experimentation and philosophy, each relating to a specific human bio-resonance, or psychology, traditional mysticism or belief, physics, astronomy, maths, chemistry.") Smooth and fluttering melodies layered over crispy rolling beats transmitting lovely vibrant sunny upbeat vibes. Braindance with high serotonin and dopamine levels.

AKME / 4 A.M. Everything what happens at 4 in the morning.

Following 2017's 'Path of Ruin', DJ Richard returns to Dial with his much-anticipated sophomore LP, 'Dies Iræ Xerox'. Undoubtedly one of the most distinctive and fully-formed electronic producers in recent memory, DJ Richard imprinted the sound of a bubbling US underground with his label, White Material, founded in 2012 alongside Young Male. His first solo LP for Dial, 2015's 'Grind', found DJ Richard delicately establishing a discipline between his East Coast noise heritage and a physical, emotive tradition of house music, mastered during an extended stay in Berlin. Now firmly settled once more in his hometown of Providence, 'Dies Iræ Xerox' is a personal and uncompromising journey that finds the Rhode Island native in reflective form, journeying without compromise into both his creative influences and personal psyche. In part adapting its title from the Latin hymn 'Dies irae', otherwise known as 'Day of Wrath', 'Dies Iræ Xerox' melds the physical and psychological aspects of DJ Richard's production ethos in sharper, more widescreen vision than before; the oceanic swells of ambience yet more powerful, and the rigid basslines sharper still. With the chaos of the Berlin club scene an increasingly distant memory, the album is enriched with a contemplative, even brittle tone, as informed by film soundtracks and literature as the pulse of city living. Still, this is new material from DJ Richard, a touring DJ as distinctive as any other to be found behind the decks at some of the world's finest clubs and festivals. On 'Dies Iræ Xerox', the artist finds the space to write 'the records I really want to play', and each suggests a template for genuine dancefloor transcendence, beginning with the electrifying 'Vanguard' . The sludgy yet sophisticated crawl of 'Tunnel Stalker' sets the tone for the menacing yet somehow melancholy EBM of 'In Broad Daylight', while the record draws to a breathless close with the affecting, drum machine lethargy of 'Gate of Roses'. Drawing little distinction between his more physically rousing material and searching soundscapes, 'Dies Iræ Xerox' instead finds a passage of catharsis throughout both. 'Dissolving World', the album's breathtaking centerpiece, is a choral feature hypnotically overwhelmed by walls of electronic feedback, forging a dramatic link between old ways and new. On the bold and near-beatless 'Ancestral Helm' and 'Final Mercy', DJ Richard seems to grant both music and raw emotion the ability to simply float in the air, brilliantly, poignantly unresolved. If 'Grind,' inspired by the weathered coastlines of Rhode Island, was a record concerning "the border between civilization and the ocean," then 'Dies Iræ Xerox' is an unapologetic follow-up concerning that between macabre obsessions and fear of death. Produced during a murky, transitional period, DJ Richard found himself particularly drawn to Medieval European art and mysticism, fascinated by depictions and philosophies of the antichrist and end-times. Greatly influencing the uncompromising, apocalyptic tone of the album, these investigations have created an engaging and personal vision of the 'Day of Wrath.'