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Azimute continues with four monster tracks delivered on their ltd edition Vinyl only imprint, Azimute Music. All 4 tracks on AZMyellow have been slashing dancefloors all over the world via Azimute and few select friends for a while. Mammamia delivers Azimutes trademark minimalistic Techno sound with slick Reverberated snares and a relentless bassline to boot. On A2. Blizz' is beautiful piece of rolling Dub Techno with sultry strings that wash over the track and makes it complete. Meanwile on the flip side track B1. entitled Egonot is a stripped , Sci-Fi affair with a skipping drum groove & atmospherics running alongside pulsating synths flourishes and hypnotic vocal murmurs. Finally on B2.Amoreux is focused on a more melodic sound, expansive strings and pads are layered alongside an infectious metallic drum groove. If you love it underground and dub, this one's for you.

Newly established Berlin-based vinyl-only label Dreiklang dive straight into the physical world with First Contact. The label's distinctive triangular concept is reflected in its name with Dreiklang pursuing a three-fold approach to electronic music. Each release presents three contrasting takes on the same source material, juxtaposing and unifying three particular electronic music sub-currents. For their first outing, Dreiklang call upon an international team of producers with OCH, Hydergine and Kelovolt dropping in for their respective shots of tech-house, dub techno, and dark drone techno. The tight three-tracker will see the light of day on a 500 limited edition run of 180gr high-quality wax with the beautiful hand-drawn designs of Berlin artist Nils Altland gracing each sleeve, transforming the covers into individual works of arts. First up on Dreiklang001 is Londoner OCH (Autoreply / Stuga Musik), who takes a simple keyboard line into menacing territory, steering the dancefloor towards the grittier ends of tech-house. A funky bassline leads the way as distant synths exhale in glossy metalic fashion and the road is adequately paved for the reinterpretations that follow. Second up, comes Hydergine. The Italian producer lives up to his brain enhancement drug name by dropping a smart dub-techno rework where mind-numbing kicks bring the listener on an atmospheric joyride through the deeper ends of narcosis. Kelovolt complete the triangle with an immersive remix where drone-heavy soundscapes take center stage for a delicately hypnotic finale. First Contact is out December 16th on Dreiklang.

The English blues rock band The Yardbirds released
their album Roger the Engineer in 1966. It was the
only Yardbirds album with all original material.
Although the record was officially titled Yardbirds it has
since its release been referred to as Roger the
Engineer, a title stemming from the cover drawing of
the record's audio engineer Roger Cameron by band
member Chris Dreja. Due to the influence of Jeff
Beck's experimentation with guitar distortion, the
album is considered a precursor to heavy metal.

This 2016 LP reissue features the bonus non-album
single Happenings Ten Years Time Ago b/w Psycho
Daisies at the end of Side B.

Miami ex-patriate Alexander Suàrez debuts on Unknown Precept with A Los Mártires. Conceived as an ode to those who spilt their blood in vane for political ideologies that failed them and countries that were never their homes, the five tracks that make up the release show the Brooklyn-based producer sinking into odd techno hybrids manipulation; shooting down unrestrained grooves and rusty samples while excavating lush sound exploration tinged by local folklore and grievous metallic tones. In his own words, Suárez discloses that the embodiment of this strange intermingling sound like an organic and humming invitation to an uninhibited meditation on our inevitable assimilation into modern industrial society; an overarching rhythmic theme built on the idea that the resistance to and the seduction of these systems might trap us in a push and pull limbo from which the only escape is rage or submission.

Richard Fearless delivers some Transatlantic love with his third Drone instalment, and the fifth release from this growing label. Overview Effect is dubbed out Detroit-esque techno with with an epic two and half minute string workout and a cognitive shift to pure Fearless magic.Metal Dub is stripped-down, metallic, hypnotic techno with haunting pads, and it's been smashing it in the darkest of rooms of late. A deep, heavy release on Drone.
Luke Hess and Dj Richard remixes to come. 

It is certainly not a small feat to have an ambient compilation series running for over a decade and keep it fresh and interesting - especially when the core aesthetic idea is as well-defined as POP AMBIENT's. However, this didn't keep last year's instalment (KOMPAKT 315 CD 120) from finding a compelling balance between veteran contributors like JENS-UWE BEYER or LEANDRO FRESCO and new, idiosyncratic voices like MAX WÜRDEN or THORE PFEIFFER. They all return for POP AMBIENT 2016, joining a captivating cast that also includes heavy-weight soundsmiths, experimental composers and ambient confidants like THE ORB, ANTON KUBIKOV of SCSI-9 fame, MIKKEL METAL, GREGOR SCHWELLENBACH or STEPHAN MATHIEU.

Starting off with a surprise guest, POP AMBIENT 2016 presents electroacoustic composer and installation artist STEPHAN MATHIEU, whose highly textured opening drone APRIL IM OKTOBER bears all the hallmarks of a pop ambient classic, stealthily weaving in layers of sound and moving fluidly between territories. The man clearly knows what he's doing - after all, he has worked with luminaries like Taylor Dupree, Ekkehard Ehlers, Janek Schaefer or Sylvain Chauveau (see also Pop Ambient 2009). Meanwhile, THE ORB show off the full extent of their experience in the field and have their own little ambient collage opera going on in ALPINE DAWN - a slight detour from their beat-laden full-length MOONBUILDING 2703 AD (KOMPAKT 330 CD 124), but just on that same level of masterful sonic dexterity.

Moving forward, SCSI-9's ANTON KUBIKOV builds momentum with a sweet melody slowly evolving to the atmospheric backdrop of a light synth rain, while MAX WÜRDEN imagines a dreamy, yet twisted underwater world with lots of space to get lost in. He later returns for a collaboration with THORE PFEIFFER (not on vinyl), the other newcomer hero from Pop Ambient 2015, and the result is a fascinating amalgamation of both producer's distinct sonic sensibilities - the grittier, drone-based approach from Würden and Pfeiffer's penchant for roaming samples and skewed loops. Another dedicated collab comes from SICKER MAN & GREGOR SCHWELLENBACH who team up for string-infused, cinematic epic TURNS.

Longstanding Kompakt ally MIKKEL METAL presents the surging TITAN, followed by LEANDRO FRESCO's magistral rework of DAVE DK's VEIRA from his VAL MAIRA album (KOMPAKT 326 CD 121). A very special bonus adventure can be found in THORE PFEIFFER's "megamix" of WOLFGANG VOIGT's RÜCKVERZAUBERUNG (not on vinyl) - an entire concept series succesfully reimagined as one sweeping cut. JENS-UWE BEYER continues his expeditions into hypnotic, semi-acoustic soundscapes on THE BREMEN, transitioning into the windy mountaintops of LEANDRO FRESCO's mysterious, multi-layered CONFIGURACION DE ATAQUE (not on vinyl). THORE PFEIFFER has the honour to conclude POP AMBIENT 2016 with the appropriately titled IDYLL, a soothing, swirling synth study giving the listener ample opportunity to return to mundane reality at his own pace.

Robert Crash is an alias of Italian DJ and producer Fransesco Schito and now he makes a debut outing on Creme Organization with a tidy four track EP. In the past he has turned up on Dog In The Night Records, and with these cuts lays out his singular take on outlier house and techno. Up first is 'Gigolo', a spare and weird house cut with sine waves and random claps, hunched drums and trippy synth lines. It's a unique track made in a unique way and will lead to plenty of freaky dance floor moments, for sure. 'Co. Art' is a whacked out techno cut with slap-funk claps, blistering and blistered synth lines and a rugged bit of bass underlining it all. The track is cavernous and metallic, empty and distant as if it somehow survived a nuclear blast. On the flip, 'Alzheimer' is a slow and gurgling, swampy techno number with broken drums and crawling synths that sound like their batteries have run down. Icy, watery melodies eventually rain down, but the track remains resolutely eerie. Last of all, 'Fabric' is another decaying track with subtle, heavily filtered synths and drums all making for a minimal groove that is barely there. This is heavily deconstructed music that sounds like little else out there and may well be the start of a very fast rise through the ranks for Robert Crash.

Repress!

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

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

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

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

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

For more than a decade, The Bunker New York has been a nexus point for the transnational techno community.
A chance meeting at The Bunker in 2011 brought together Gunnar Haslam and Johannes Auvinen (also known as Tin Man), who became fast friends and collaborators soon after, conceiving a joint project called Romans. The Bunker New York is proud to present Romans' Ambulare Aude, a collection of atmospheric acid techno tracks following the project's debut on Auvinen's own Global A in 2014."The Roman theme opens a world to explore beyond both of our past endeavours," says Auvinen, explaining
the conceptual genesis of the collaboration. "In the same way Ennio Morricone may have conceived the 'Spaghetti Western' genre by fusing together various contemporary motifs and moods to conjure the spirit of a past era, we're imagining stories and scenes from the Roman era, trying to manifest narratives while celebrating the distortions we see looking through the murky lens of time." And while Morricone may be a conceptual reference point for Romans, their sound is anything but—instead offering up a pair of murky, psychedelic acid-etched cuts (Emona, Delmenium) buffered by a gradually unfolding up-tempo floor-burner
(Coptos).
The record is the result of several extended improvisational jam sessions in Vienna and Brooklyn in which both
artists would play off of each other in the studio. Accordingly, each of the three tracks have a slight aleatory
air about them, as though both artists are being led down an unforeseen musical path, not entirely certain of
where it leads. This culminates in Delmenium, the record's B-side, a true techno journey, featuring an emotional, metallic synthesizer coruscating against a melancholy background.
"I like to think what we make sounds simultaneously like both of us and neither of us. We both push each other
in different ways," Haslam says, recounting their production process. Auvinen adds that "(Collaboration) offers a chance to hear from someone else's perspective. Working with others, I'm often reminded of how radically different the way people hear things, and relate to them in a musical context, can be."

BACK IN STOCK NOW!! "Volume One is the debut album. It was the only album recorded with original guitarist Justin Marler, before he became an Orthodox monk. Volume One showcases a darker sound and stronger doom metal influence than Sleep's later work. The image featured on the cover is taken from the Salvador Dali painting "Soft Self-Portrait with Fried Bacon".
Their only album as a four piece of Al Cisneros, Matt Pike, Justin Marler and Chris Haikus

LP repressed for first time in many years.

allmusic
"For all their budding, precocious talent, Sleep's 1991 debut, Volume One, quickly betrays their still quite heavy debt to doom metal forefathers like Black Sabbath, Witchfinder, and Saint Vitus. Driven by Matt Pike and Justin Marler's lumbering mass of low-tuned guitar riffs, Al Cisneros' (still going as Luke here) serpentine bass and ragged screams, and drummer Chris Haikus' cyclopean kit pummeling, occasional highlights such as "The Suffering," "Nebuchadnezzar's Dream," and "The Wall of Yawn" prove less memorable than they are sensorially overwhelming. And yet, ironically, Sleep's rhythm guitars would never again be kept as under control, nor would their leads sound quite as refined as they do here (see the cleaner harmonies employed to good use on "Numb" and "Catatonic," for example). This was probably due to the onetime involvement of the significantly less stoned Marler, who would soon exchange the group for a monastery where he would study to become a monk. Fittingly enough, however, losing the versatility of a second guitarist was exactly what Sleep needed to focus their singular power into a crushing force, and the remaining trio would flourish immediately behind the sheer physicality of Pike's six-string style, as proven by 1993's superlative sophomore LP, Sleep's Holy Mountain."

secretsundaze 017 comes from London based producer Endian. Releasing just 2 EPs in a few years on Nonplus and Electric Minds, Endian has nevertheless managed to turn the heads of the likes of Steffi who used one of his tracks for her Panorama Bar compilation and Boddika who also licensed a track for a various artists EP. Sounding like a producer far more experienced than the two releases would indicate, it came as no surprise that this is far from the output of a novice but the seasoned veteran George Levings aka Commix (Metalheadz).
Endian has been a regular at secretsundaze events over the years and a friendship developed with Giles and James. The project is an outlet for him to release the more technoey and house sound that he is increasingly inspired by.
Lead and title track 'Finish Me' is a stone cold killer. Ballsy, raw and over driven in the mix, a tribal breakbeat groove builds before brassy stabs sneak in. The peak of the track sees dramatic pads cut through for a moment of serenity before the drums drop back in. Joy Orbison used 'Finish Me' in his Essential mix late last year and its also been a highlight of secretsundaze's sets over last 6 months. 'Dusty' goes deeper with a layer of fuzzy warmth enveloping the track. Driving but definitely one for the later hours or early on with its hypnotising flow and subtle musical flourishes. Last up 'Sub Tropic' is a heads down, growling, low slung techno track with its deep sub bass. This is definitely a track you can imagine hearing in the bowels of Berghain well into Sunday daytime. 'Finish Me' is arguably Endian's best work to date and it's another fine addition to the secretsundaze catalogue.

The Bunker New York is proud to announce the second EP from Mehmet Irdel, also known as Løt.te (pronounced Loat-tey), following his debut release on our label in 2014.
Løt.te's 'History of Discipline' EP features two distinct moods and detailed, industrial-inspired sound design with a firm focus on the dancefloor.

"When I discovered the heavy, dark techno coming out of the U.K. and Japan in the '90s and '00s, like Regis, Surgeon, Female, and Takaaki Itoh, it was a revelation," Irdel says. "Until then, I hadn't realized that techno could reference the grittiness and physicality of industrial music and make it work so well, and feel natural on the dancefloor." These muscular, upbeat techno artists are the perfect reference point for Løt.te's music, but Irdel takes his work one step further, featuring an emotional complexity that many other producers lack. "I'm interested in techno that feels both masculine and feminine at the same time," says Irdel. "These days, most techno feels either very intricate and clean, or very noisy and macho. What interests me is finding an in-between."

True to its name, "History of Discipline" is the darker track here. Built on a foundation of heavy, swinging kick drums and shuffling hi-hats, the track builds to an enormous climax before winding down into a rattle of metallic percussion. "A Mutable Constant" is more ambiguous, featuring a rubbery bassline and steadily-building background percussion - until a moody, longing synthesizer pad begins to take center stage. "I don't honestly know where the emotion in 'A Mutable Constant' came from. That wasn't the plan when I started working on it," recalls Irdel, "but I incorporate a mix of analog synths into my productions, like the Korg MS-20 or Doepfer Dark Energy, and their sounds sometimes surprise me. My production process begins and ends with a computer, but I love being able to have that '90s analog sound' in my work. I'm very conscious of not having any 'overly digital' sounds in my tracks."

Løt.te's latest EP embodies the spirit of techno while simultaneously pushing its sound forward. "Techno, for me, is an experiment in human perception. A way to find the fringes of perception in rhythm, melody, and emotion, to push all the way to the edge, to find the breaking point. I'm trying to push techno's boundaries without ever losing sight of 'what makes techno techno': its restraint and groove."

Record Store Day 2015 will see a special release from Gene Hunt directed and selected by label boss I-Robots.

The two track vinyl EP features unreleased material produced in the early years of the famed Chicago artist's career in the 80s and is dedicated to musical legend Frankie Knuckles who appears on the artwork in a rare picture with Gene Hunt from back in the day.

Gene has regularly produced and remixed for the label before now (including remixing Klein & M.B.O. 'Last Call' and on forthcoming I-Robots project 'Dirty Talk' ft. Donna McGhee) and has already assured his place in house history as a DJ headlining clubs like Warehouse and the Music Box as well as playing with the likes of Ron Hardy and Larry Heard.

As a producer he has been on top of his game for three decades and has released on legendary imprints such Rush Hour, Svek, Djax and many more, so is a true house icon.

His first cut here, 'Drive Yourself Nuts' is a classic bit of Chicago jack with prickly percussive patterns staying busy on top of punchy drums. Wonky bass, physical grooves and coarse claps all make this one a standout banger for the peak of the night.

On the flip of this special package, 'Wildside D Dubb' is a slow building, mania inducing tune with a lead synth line slithering about over dusty metallic drums. Eventually some acid bleeds into the mix and pans all around, adding a sense of scale to this heady, freaky, dance floor smasher. As ever, Opilec Music show others how it is done with this real and rare bit of true Chicago house history.

Speedy Ortiz is proud to announce their sophomore album, Foil Deer, which will be released via Carpark Records on April 20th.

'Major Arcana' released in 2013 won them glowing reviews , features and several UK tours (highlights below):

- 4 PAGE NME FEATURE

- 9/10 LEAD REVIEW IN NME: 'One of the reasons 'Major Arcana' works so well is because it's addictive and fun. The guitars and bass sound incredible, like the last Deerhunter album without the Yankee Doodle Dandy'

8/10 Drowned In Sound : ' Speedy Ortiz are way too euphoric and glorious to suffer for their artfulness. Stripping away the frills, at heart Major Arcana is a mournful treasure that asks to be celebrated.'

*NME RADAR FEATURE: 'What's miraculous, though, is that Major Arcana doesn't sound at all self-pitying; it's torrid Slint-meets-Pavement rattle bolsters Sadie's relished words so that yelling along is an exercise in gleefully exorcising your own demons'

8.4 ON PITCHFORK: : 'There's the squalling, guitar-on-guitar carnage of Archers of Loaf, the grungy mysticism of Helium (Dupuis lifted the title Major Arcana from a book she was reading on black magic), and of course the deadpan wit of vintage Liz Phair ('I was never the witch that you made me to be,' Dupuis tells a burnt-out old flame on 'Plough', 'Still you picked a virgin over me').

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
Deluxe LP Is as above but with metallic gold coloured vinyl, and sticker.(200 ONLY FOR UK)
CD comes in digipak with a folded poster approximating the chapbook in the LP.

Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge!

When considering Massachusetts' Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that's characterized the band's nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. "I'm not bossy, I'm the boss," Sadie Dupuis sings on "Raising the Skate," invoking in spirit one half of the Carter-Knowles clan and echoing the other's wordplay. And wordplay makes sense, considering Dupuis-the band's songwriter, guitarist, and frontwoman-spent the band's first few years teaching writing at UMass Amherst. She's drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band's 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock.

The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members' lives in general. They would get the damn flowers themselves.

Dupuis wrote much of Foil Deer at her mother's home in the Connecticut woods, where the songwriter imposed a self-regulated exile and physical cleansing of sorts, finding that many of the songs came to her while running or swimming alone. "I gave up wasting mental energy on people who didn't have my back," she says. "Listening to our old records, I get the sense I was putting myself in horrible situations just to write sad songs. This music isn't coming from a dark place, and without slipping into self-empowerment jargon, it feels stronger." Many of the songs deal with a similar sense of starting over, editing out the unnecessary drama. "Boys be sensitive and girls be, be aggressive," she sings on "Mister Difficult."

And while their debut album was recorded on the fly, Speedy Ortiz spent almost a month in the studio on Foil Deer. Falcone's drums are taut, mechanistic; Ferm's bass ranges from the aggressive rattle of an AmRep classic to smoother, hip-hop inspired lines. McKnight, meanwhile, lends spacier, textural riffs to complement Dupuis' wiry, melody-driven guitar style. "The demos for our songs have always had tons of small details and production experimentation, but we never had any money to pay for more than a couple days in the studio, so the songs came out very live-sounding and guitar heavy," Dupuis says. It was recorded and mixed at Brooklyn's Rare Book Room with Nicolas Vernhes (Silver Jews, Enon, Deerhunter), with the record mastered by Emily Lazar (Sia, Haim, Beauty Pill), lending a more polished sound and a pop sensibility that will stand out to existing fans and new converts alike. For all the lyrical complexity and guitar-based excursions Speedy Ortiz have built their reputation on to this point, Foil Deer has a sense of light-footed fun. What's the point of doing things yourself if you're not going to enjoy the trip

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
CD comes in digipak with a folded poster approximating the chapbook in the LP.

Mutual fans Sherard Ingram and Mariska Neerman join forces to present four essential tracks spanning the breadth of contemporary electro on this second release from Bleep43 Recordings. The first side sees Ingram exploring the edges of his famously unique blend of intricate yet relentless electronics, simultaneously touching on Autechre's metallic abstractions while sounding the depths of bubbling oceanic vents. Mariska answers with two tracks of melancholy machine music that embody her talent for melody and arrangement and promise to make their presence felt on dancefloors across the spectrum.

There is something singularly unique and peculiar in the degree to which seemingly unsettling themes and extreme taboos have been explored, most notably in the medium of film, in the land of Nippon. Free from the constraints of reality, notions of grotesque brutality, torture, fetishism, and sadomasochism, to name a few, have oftentimes served as driving motifs in the examination of the true nature of violence latent in the most repressed reaches of the human mind. Concurrently, in the realm of electronic music, many Japanese producers have often been able to cultivate and harness a daring yet distinctly refined and inimitable form of organized sonic chaos, one almost instantly recognizable to the occidental ear. The music of Tomohiko Sagae, and in particular his latest contribution to Furanum's catalogue, The Spurt of Blood, is perhaps a quintessential example of the confluence of the former themes and latter medium.
At the outset of the record, the beholder is faced with the 'Vacant Eyes' of a staggering monstrosity, a subdued and subjugated automata in the midst of a bleak dystopia, nearly lifeless but for the grudgingly conceded advance of its death march. As a battery of gratuitous aural violence led by a dominant synth is rapidly unleashed in the subsequent composition, a growing malaise transforms into fractured bone and psyche alike, with no distinction made anymore between the tearing of metal, flesh, or the fabric of the mind. Culminating in 'Severe Pain', with limits of endurance breached and descent into madness the only seeming form of respite, relentlessly rolling drums and hauntingly sublime howls provide the context for the dawning realization of pain as a virtue in and of itself, when a demented pleasure and the exhilarative liberation that lies therein begins to emerge. In the final act, reinterpreted by Furanum stalwarts Uncto, roles are tellingly reversed as the vacant eyes of the victim become that of the oppressor. With cold-blooded precision, the original is reengineered into a force of merciless domination, its elements machined and recalibrated for pure power.Words: PSD

After 14 years working with a huge spectrum of D&B greats, London based Irishman Cian McCann has long since established his place in the scene. From his early days in Dublin with the Bassbin label to working with the likes of Calibre, 4 Hero, Klute, Alix Perez, Rockwell and Noisia, he has never stood still. 2008's Cheap Shots LP for Total Science's CIA Records was a high point, with lead track Walk Away bringing vocalist Steo to the worlds attention. Also a noted remixer, he has retouched artists as diverse as Dillinja, Slam, Rolo from Faithless, Sabre, Lemon D and Lenny Fontana. Zero T's discography shows the diversity that his DJ sets have always shown, ranging from full vocal smoothness to darker, more technical styles. You are as likely to find his music on labels like Subtitles and Shogun as on Soul:r or Signature. 2010 saw two milestones reached; the Launch of Footprints, Zero T's own label, and compiling and mixing FabricLive052 for the esteemed London venue. After a short period away from the scene, 2014 sees the return of Zero T as a producer and DJ. Watch out for his collaboration with long-time cohort Beta 2 coming on Metalheadz Platinum soon and a follow up EP to the Roxy Music EP on Dispatch Recordings. Now The Prestige Music Group is proud to announce, 'Roundwood / Hurricane Charlie' due out in late September or early October

Federsen returns to Fifth Interval for another sublime instalment of dance floor friendly dub-techno. Dewpoint is an altogether tighter affair when compared to the label's first release, Point Reyes.

The drums are taut and razor-sharp, propelling the listener effortlessly through a dense fog of ferric clouds, swelling to fill the outer-reaches of the echo chamber. A highly polished metallic production style that can be compared to some of Andy Stott's early and classic works.

Tomas Rubek remixes Dewpoint for the B-side, remaining faithful to the original track's structure but viewing it through a tinted lens. Dewpoint's chords become iridescent, kick drums fall into a straighter pattern and are backed by further dusty percussion, shifting the original into spheres inhabited by the likes of Rod Modell and Fluxion.

12" 180g vinyl with printed sleeve.

Mastered by Lewis at Stardelta.

"Original mix is dope." - Brendon Moeller (Beat Pharmacy)

"Really digging this remix. It's been on repeat this morning." - Silent Season

"Full support, I will play it, love Federsen's work!" - Fingers in the Noise

"Played on BBC Radio" - Steve Barker (The Wire)

With releases on a slur of top labels including Invisible, Critical, Metalheadz, Subtitles & Dispatch, 2014 sees Hybris release his debut album on Noisia's Invisible imprint.

Entitled 'Emergence' the new album is set to cement Hybris as one of the most forw

As one of contemporary alternative music's most elusive figures, Dean Blunt returns on Black Metal and delivers his most assured and ambitious record to date for Rough Trade. An album of two halves; the crestfallen baritone on Blow is juxtaposed by the inner-city sermonising of Grade, just as the melancholic strumming of 50 Cent gets rattled by the unrelenting stagger of Mersh. With ominous narratives of hunger and loneliness rumbling underneath the gloomy surface, Black Metal is a moonlit cruise through Blunt's cloudy metropolis. There's no telling where he'll go next, but this is one of his finest trips to date

After a 12 year break the UK Techno label Solid Groove is back.
Kicking off with a collaboration with New York artist and Metroplex label manager Kimyon Huggins.


A1: Track one Sandy is a Detroit influenced track with noises recorded live by the man himself from hurricane sandy.
A2: Aubreys windy city remix is a more peacetime mix of the original with twists and turns and a dark groove throughout.
B1: Aubrey-Dust storm salsa, is a atmospheric journey with a hypnotic groove and has been tested at Panorama bar at peak time by various DJ's to great success.
B2: Kimyon's remix, taking a more dance floor feel with harder beats and driving metallic sounds.

Great music extends father than your ears can hear. Listening to resent recordings of Peder Mannerfelts music is listening to recordings of a complete creative flow. Superb tracks created inside of Peder Mannerfelts Villa Nellcôte.
Opener "Rhythm Inflection" is similar to a heartbeat but rebuilt using a parade of machines and biting ice-cold sounds that implies a climax that never comes.
Repetitive thuds are the wrecking ball of "Technology As Apathy" while saw waves continuously crunch until your ear are obliterated on "Failed Grammar". "Titled" is the centerpiece, however. Its sonic gears grind into hollowed-out spheres. A voice from the heavens echoes "Reset, reduce, turn up, repeat" until the words lose all meaning and are battered into the metal walls by distilled rhythms.
EP2 is the last ashes of a manuscript that's been waiting for ages to be turned into dust. It is the final nail in the coffin of his past that began with EP1 and Lines Describing Circles. Peder Mannerfelts music is gradual and always on the move, the process spans over the whole production.

Optimo Music is usually known as a 12" label, but occasionally something rare and dangerous comes our way that compels us to release a full length album...

It's not exactly a dance album, although there is music you can dance to on it. It's more filmic in nature, with gads of references to wonderful directors like Kubrick and Carpenter that will enthrall a film buff, particularly if they're interested in electronic and dance music. There's a sleazy and unsettling feel to much of the tracks ("Tina Weymouth" is a sleaze-floor monster groove...), but we hope it will intrigue and delight!

The film references are directly relevant as Felizol and The Boy are film directors Yiannis Veslemes and Alexandros Voulgaris, who live in Athens, Greece and have composed music for numerous feature films. They also perform live in house clubs, heavy metal dungeons and hippy-friendly festivals...

They have this to say about their release: "We had a loose concept for this album and we compiled tracks that we've recorded the last 3 years that have to do with the cannibalism. Literally but also as a metaphor for the blessing and the tyranny of paying homage and influenced from music and films (and directors and musicians).

So these are songs about the agony of creating something new and personal when so much information and influences are fused in them."

Limited Red Vinyl Pressing!
Kenneth Christiansen & Dennis Bøg presents Pattern Repeat part 7. After a litle break Pattern Repeat is back with a new EP. This time Pattern Repeat delievers 2 very powerfull Techno Tracks with heavy chords and dubby elements. Kenneth is also running the labels Echocord and Echocord Colour, and Dennis is known from his Baum Label, and his Resoe releases. Its still all about dub-techno but with a heavy metallic sound that defines the project Pattern Repeat. This one will be in Red Coloured vinyl. Both tracks will be perfect for the peaktime hour.

REPRESS! 'Sonic Mass' is a dark, grandiose & utterly monumental' KKKK Kerang, 'Heavy, tribal, rumbling rhythms meet searing anthems...one of the uk's greatest ever bands' 9/10 Metal Hammer, 'Captures the intesnsity only matched by Neurosis and Killing Joke' - Terrorizer, 'a masterful work' - Zero Tolerance, Sonic Mass comprehensively re-establishes Amebix's innate ability to rip your head from your shoulders' The Quietus
Color Vinyl + Pic Sleeve

In the wake of Blocks & Escher's recent outings on Metalheadz, Critical, and Zomby's Cult Music, Narratives present the first solo
excursions on the label from one of its founders, Blocks. Varied, emotive and beautiful, the Séance EP is innately Narratives Music in sound and yet unlike anything the label has delivered previously. The Séance EP fleets between ethereal vocals, forlorn strings and analogue bursts of glassy synths, while drum machines dance with live kits that would be fitting of 90s Mowax records. Bass lines loom heavy throughout, simple and driving rhythms that bed the delicate keys and story telling harmonics above. As immersive as it is succinct, Blocks has created an extended player awash with feeling and juxtaposition; again displaying why Narratives Music has been lauded across electronic music from the likes of Goldie and
Com Truise to Zomby and Rob da Bank. Forming the veritable gem of the collection, is the vocal laden 'Haven', a collaborative piece between Blocks and the hugely talented Jennifer Hall. Live instrumentation of bowed strings and bass provide canvas for the heart wrenching tones of Hall. Doc Scott describes the track as 'Deep, deep blues'. More akin to a personal reflection of the artist than the frenetic speed of a club, more Twin Peaks meets Portishead than dance floor energy; this is music at a Drum & Bass tempo by a producer that doesn't want to be caught in a debate on style or subgenre. In essence it seems to emphasise a recent quote by Blocks, 'Drum and Bass is anything you can get away with'. Label support from Goldie, Kuedo, Doc Scott, Rockwell, Benji B, Paul Woolford, Zomby, Friction, ASC, Jubei, Teebee, Pedestrian,
Rob Da Bank, Midland, Kasra.

7 years after the last Zhark Vinyl Release, Heavyweight Techno Nihilist & Labelhead kareem opens up another
chapter of advanced technoid NOIZCORE with his 11th full length EP on Zhark.
After a few years of silence kareem had just reemerged with releases on Foundation Sonore (FS 01) ,
PORTO RONCO on Death of Rave or MESMER on Zhark Digital but is now threatening to inspire more
uncompromising percussive hostility. Let this just be the beginning:
Whereas Side A emphasis on a very distinguished DANCE FLOOR groove concept of Machine Funk embedded
in metal Layers Side B leaves room for a less formatted approach building up tension which is leading to a free
firezone of depravity.
While methodic differentiations can be discovered on each side, the listener is continously confrontated
with haunting sonic extremism.

Nomine's third release on Tempa, following last year's spooked-out Nomine's War, is Enma / Zen Circle / Mindfulness. Containing his most expansive and exploratory music to date, pushing his already intricate and varied sound to new depths of atmosphere and intensity.
As their titles attest, the three tracks here are intense meditations as much as they are club firepower. Drawing equally on his love of UK sound system music and formally experimental composition and sound design, they further highlight Nomine's status as one of the most adventurous new producers operating in electronic music today.Lead track 'Enma' blasts from the tracks in flurries of metallic drums and plucked sino-grime esque melodies, an atmosphere heightened further on 'Zen Circle' whose reedy pipe motifs stalk through the mist like figures through a haunted forest. 'Mindfulness' rounds the EP out with shadowy, delay cloaked digital dub, riding out atop clustered kickdrums and roughly effected drums.

MF DOOM is the man in the iron mask. The most mysterious figure in hip-hop has also become one of the most popular, supplying beats and rhymes for Gorillaz, De La Soul, Madlib, Danger Mouse, and Wu-Tang Clan, and drawing praise from heavyweights like Just Blaze, Nas, and Mos Def. Since 2002, DOOM has released numerous volumes of Special Herbs, one of the longest-running instrumental series in hip-hop history. Now, volumes three and four of the acclaimed series are available on vinyl for the first time in years. With obscure loops and dusty samples galore, Special Herbs Vol. 3 & 4 is a must-have for any DOOM fan or hip-hop head. Also includes a limited-edition bonus 7', featuring two beats from DOOM's days as a member of 90s hip-hop trio KMD.

It's now almost two years since German producer Sawlin made his debut on Ann Aimee, but now he is back for a third EP on the Delsin sister label. Entitled 'Niedertracht', it features four more tracks of searing techno in truly uncompromising Sawlin style.

'Kontraktion' goes first with heavy metallic hits, lots of industrial machinery found sounds and thumping kick drums. It's lumpy, mechanical and stiff stuff that is slow and purposeful. The surface of 'Padjam' is then covered in squirming, scratchy little effects as syncopated drums swing deep down below. Eventually the thing gets fleshed out with some malfunctioning melodies and slurred vocal stabs yet still it sounds like no other techno out there.

'Niedertracht' takes up the b1 with a spangled techno track that has gurgling synths and fizzing drills all encased in a ravey arrangement of horns and windy howls. The broken sounding 'Weißhaupt' is made up of metal loops, punctured drums and rasping synths that sound like factories in melt down. This is truly inventive electronic music that's laced with a very real and unmistakable sense of industrialism, and proves Sawlin is one of the day's most exciting producers.

The latest drop from Retrometro is not for the faint-hearted, as Germany's Myk Derill brings the metal machine music. You Are is a stomp and grind monster, with speaker-troubling kicks and torture chamber soundscapes. Zerone is a brutal, relentless Berlin warehouse workout, with deep reverbs, on-point percussion and a juicy roll on the low end. Alert brings yet more of the factory floor pump, with its white noise build-ups and decayed percussion. And the caustic rhythms and haunting synths of Between bring another dynamic to the EP! Bruising!

Blank Code start 2014 off strong with their latest EP Rituals of Submission, produced by Luis Flores, with remixes by Black Asteroid and DJ Hyperactive. The opening track Discipline starts off with a nice creepy atmosphere supported by a solid kick and just the right amount of percussion to hook you into the tracks core rhythm, which stays consistent while the supporting percussion keeps the intensity of the track in constant motion. Black Asteroid's Discipline remix gives the track a whole new perspective, while staying true to the original's excellent use of classic elements. The straightforward kick and up­beats work perfect with this track's industrial bassline, while cleverly programmed analog synths carry the track with slow triplet rhythms, and quirky stabs that drift off to space.

Luis Flores' second original composition, The Word, follows the same philosophy as Discipline, with many elements coming together to form one solid rhythm. This is a huge sounding track with intricate metal percussion and pitch modulated stabs that form a dark and inciting hook which is overtaken by filtered claps as the track progresses. DJ Hyperactive gets down to business with his remix of The Word and lets his Chicago roots shine through as hats on all fours and hard hitting claps are used to raise the energy sparked by the deep kick and well processed stab.

This is the year of Peder Mannerfelt's rebirth. After seven years he's laid The Subliminal Kid to rest. With this new 12", the chains have been locked in and the road map has been obliterated. EP1 is focused like a laser etching out intricate patterns in massive, humming machines. Mannerfelt's ideas have been reduced to a razor's edge and he balances these freeform compositions like a master.
This EP could be seen as a prelude to Peder Mannerfelt's debut album under his own name that will be released by Digitalis Industries in February and at the same time is the first part in a ongoing series of self released records by Mannerfelt.
Opener "Hook (end)" crashes like waves from a metallic ocean bearing down on the shore. The bass craters beneath, digging its way to the listener's core. Each idea is stripped down and simplified to the point of near exhaustion, resulting in tracks that are relentless and infecting. "Psalms and Songs and Voices" is propelled forward by crushing kick drums and rhythmic bass pounding. Somehow, though, Mannerfelt works unsuspecting hooks in between the peaks. It's incredible. "With Psalms and Songs and Praises," the final track on this 12", everything is pushed to the limit. This is absolute maximalism; an overload of the senses that cannot be escaped. It's the opposite of everything else on the EP, combining everything into a single, massive escape.
This is the sound of machines humming. This is the sound of the factory floor in rebellion. And yet, this is only the beginning; the first chapter of a novel yet to come. This is the sound of Peder Mannerfelt finding his voice.

Passarella Death Squad are back with an new EP and once again open up a world of brooding, twisted emotion brought to life by their unique sound.

Giant EP commences its twisted journey with French vocalist Emilie Albisser's style beautifully on 'Blue Lips' running in parallel across thundering basslines, and clipped layered synth sounds.

Title track 'Giant' leads with a Vangelis style combination of fear inducing sounds that entwine in perfect time with Emilie's ethereal voice, from a future where hope is dwindling.
'The Stars and Stripes' is an enigmatic homage to the home of electronic beats - Detroit. Where Drexciya channels 'Drone' in a fiercely uplifting mantra to the power of America.

Giant EP ends with 'Untitled' which aptly wraps off this musical journey using metallic sounds melded together taking you back to that Beijing smog with huge LED screens and too many people.

Almost exactly three years after the first, Redshape has readied his second Red Pack, due for co release by his own Present imprint alongside his frequent Dutch home, Delsin, in June.
Whilst the world is still enjoying the German's latest album "Square", the man himself has typically moved on once more. On Red Pack II he offers up six tracks new of hugely atmospheric and romantically industrial techno across two pieces of vinyl.

First up, 'Disco Marauder' has raw, jangling beats, traumatised vocal cries and plenty of sci-fi ambiance all coalescing into a filmic techno tapestry, before 'Path Dub' goes deeper and more streamlined with rattling claps peeling off taught synth cables in hypnotic fashion. The same track also comes in an original version, which is a much more jagged, roughshod and textured affair.

'The Source' is a track slowed to a crawl that almost seems to want to collapse under its own weight. Machines gurgle and gargle, the beats march on with a heavy heart and widescreen synths all that ever present sense of cinematism that makes Redshape such a unique producer.

Standout track 'Daft Mode' features a beautiful Reese bassline and rich layers of classic Detroit chords of the sort Inner City once championed. Redshape then pairs them with slicing percussion and loose limbed but tough edged beats and lets them roll on to a blissfully emotive oblivion... Fans of 'Mucky Bones' from the first Red Pack might see this track as a close relative. Last track 'Bulp Head' is one of Redshape's more euphoric tracks thanks to the glistening and pixelated melodies which rise up and up through choppy, metallic percussion. It closes out another release from Redshape that offers six more classic pieces that are as idiosyncratic as they innovative..

Here comes the first release lf the outstanding super disco stars HARD TON on our label! With A-side track RISE UP we have the first track with chart potential on our label we'd say. We love it anyway! : )
B1 track WORK THAT BODY shows off the heavier jacking side of HARD TON and B2 MONOTONE rounds up the EP with its uplifting house chords.
Not our average cup of tea, but we fckng love it.
Instead of boring you to death with just another info text, we copy these words from I-D Magazine about HARD TON:
HARD TON are the Italian duo with the larger than life disco sound and a surprising love of met- al. Fused together in 2008 from the musical loins of DJ Wawashi and heavy metal singer Max. Sylvester-styled falsettos conjure up memories of smoky dancefloors during the heady days of HI-NRG, which combined with a contemporary sound of accelerated beats and screaming acid basslines, shows a nod to the past can result in a slap across the face for the present. Using analogue and vintage gear, from the 303, 606, 707, Oberheim DMX, Korg Monopoly, MS20, Prophet V5, the music is as organic as synthetic music can be, their equipment living and dying by its own unpredictable rules. (i-D Magazine)

Raudive a.k.a. Oliver Ho heads home with two guilty dancefloor pleasures. Gritty surface, smoove bottom. For those damp, dimly lit cellar clubs: low ceilings, fog, smoke and all that. 'Ruins' runs a relentless groove against angular guitar overtones, blowing out the valves of its amplifier. Metal sheets, rusty strings, sweaty bodies. 'Visitor' is built on a naughty percussion sequence and is elevated by a morphed girl's inquiring voice straight out of a 1984 Shibuya version of Blade Runner. Kinky. Essential 2013.

Elon make with the DIY vibes on the smart EP. Fans of Live Jam releases, listen up! On the title track sharp cuts, tight bursts of sound and loose percussion combine into a complex rhythm that is kept in check by a nice tumbling bassline. Jazz breaks hit the speakers with Got Ya, Tiger! Like a night out in Soho in 1962 brought back to life on an MPC. The bruising bassline just shouts 'Dance Or I'll Kick You In The Guts". Alex Celler's Broken Circuit Dub of Got Ya, Tiger! ramps up that kicking a notch. All those bruising elements are still there, but the guy grinds those jazz breaks up in his big metal jaws and spits out a gobful of twisted future. And you're gonna like it! Elon team up with Stefny on Téo, which finishes the EP. And you can feel her effect - she clearly loves a cheeky little synth line, because there are plenty of them here... squalking, meeping and dooping in perfect harmony to create a nice trancey brainfeeder. Nice.

Terror Danjah's second Hyperdub album is 'The Dark Crawler', a well-paced and much more upfront and energetic journey through his musical world than his debut 'Undeniable'. The album revolves around the 'Dark Crawler' theme, a blistering grime track that pops up several times, vocaled by MC's Riko Dan, Mayhem, Deadly and Saf One, and then lastly Trim and Kossie. That's not to say the album is one dimensional or relentless. It's subtley balanced with the 'Dark Crawler' thread of tracks allowing the album to spin off in a web of directions without losing any focus. It's a much more contained body of work, paced to keep the listeners interest. From the 'Dark Crawler' intro into the cartoonish horror soundtrack of 'Mirror's Edge', which tricks you into thinking its just any dubstep tune, before scattering into Terror's signature broken kicks and claps. 'Dark Gremlinz' featuring D.O.K. is a classic peak-era asymmetric grime instrumental. The album then drops down into the 130ish speed of 'Air Max 90' featuring Champion, which builds from a soca-like drum drill stretching the rhythm to the point of collapse with a wonky synth, before concluding on a driving baseline house 4/4. The first 'Dark Crawler' vocal is next, with a ferocious performance from veteran Roll Deep MC Riko Dan, who drops bloodthirsty threats at a breakneck pace. Next, the tempo drops down again to the drunk funk of 'Full Hundred', with criss cross claps and a rasping bassline breaking down into live drumming and tight trap door edits. Things speed up a little again with the intricate 8 bar funky of 'Rum Punch', a hard drum tattoo rolling out over a heavy detuned bassline and intense bleeps. On the second 'Dark Crawler', mic duties are shared by Birmingham MC's Mayhem , Deadly and Saf One. Their hard vocals contrast with lush styled R'n'B of 'You Make Me Feel' featuring Meleka. The album then rolls out into the galloping drums and smooth G-Funk synths of 'Baby Oil'. Trim and Kossie drop the final 'Dark Crawler' vocal, with Trim dropping deadpan threats contesting with Kossie's focussed hysteria. Next up 'Delicately', with Ruby Lee Rider, starts in slow motion R'n'B mood, sweet Rhodes chords drift and bubble up as the track doubles up into dreamy drum and bass with a fluttering tabla keeping the time, and Ruby's tender vocals tempering the pace and aggression. Overall, it's a brilliant exercise in breathless rhythmic arousal. 'Moschino', on the other hand is a darker, chunkier and grimier mirror image to 'Delicately', switching up into a ferocious metallic riffage, before the album closes on an outro of 'Dark Crawler' again. Form, function, energy and talent fuse perfectly over 'The Dark Crawler' s length. Enjoy the ride.

Perc Trax is proud to unveil the 2nd 12' to be taken from Forward Strategy Group's debut album 'Labour Division'. Since its release at the end of May the album has received across the board DJ support and press coverage with a 4/5 review from Resident Advisor and even a full page in the Guardian about FSG and Perc Trax. The album has also had launch parties in Amsterdam and London and has seen the FSG guy's crossover outside of techno to be featured in the wider music press including The Quietus and Stool Pigeon.

This 2nd 12' rounds up some of the most popular tracks from the album giving them the vinyl release they truly deserve. First up is the most popular club track from the album; 'Elegant Mistakes' where raw industrial sounds meet with broken beats that hint back at classic UK hardcore. Completing the a-side is album opener 'Ident', one of the LP's most melodic moments and proof, if it was ever needed of Patrick and Al's wide ranging influences and production skills.

The b-side opens with 'Nihil Novi', an album favourite that appeared on the first Labour Division 12' as remixed by Factory Floor. Now the original mix appears on vinyl and it's echoing, slow-morphing stabs sound as cutting as ever. A DJ favourite since it was initially promo'd, it now sounds even better on vinyl. Closing the EP is a re-edit (sarcastically called a 'radio mix') of 'Metal Image', where a world of atmospherics opens up on top of a slow droning kick drum. A perfect set-opener or mid-set Dj tool it is demonstrates the variety that is on show across 'Labour Division' and is one of many reasons for the albums excellent reception.