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Division of Laura Lee are a musical tornado from Gothenburg, Sweden. In 2003, Lovitt and Division of Laura Lee teamed up to release the compilation album 97-99, which compiled early singles and hard to find tunes. Now, twenty years later, it's time to do it again. This will be the band's first release since 2013's full-length, Tree.
'Year 2018. To be fair, we haven't made an awful lot of noise lately. Our last album went by quite unnoticed, and some folks even thought we'd closed shop. To straighten things out we decided to record some new sounds.
The first tune revealed is called Hollow Pricks. A song about staying true to your beliefs. Written in the same fashion as usual, just like we have been doing it for twenty fast years. We are also thrilled that it is released in the US by Lovitt, based in Washington, D.C., our home away from home. The world needs a new haircut. This just might be the first song from our new album.'
-- Jonas Gustafsson
Per Sta°lberg - Guitar,Vocals Jonas Gustafsson - Bass,Vocals Viktor Lager - Guitar ha°kan Johansson - Drums

Experimental industrial Bass music. Something unexpected and sometime techno, really worked-out on the sound quality. Meeting of noise a,nd mechaniks. Crazy stuff is so important in our life...

"The kind of melancholia I'm talking about, by contrast, consists not in giving up on desire, but in refusing to yield. It consists, that is to say, in a refusal to adjust to what current conditions call 'reality' - even if the cost of that refusal is that you feel like an outcast in your own time." (Mark Fisher, Ghosts Of My Life, Zero Books 2014, p. 24) In Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures', the author Mark Fisher outlines - to put it in a big way - a resistant melancholy. This stands in contrast to leftist melancholy resignation', as well as something which Fisher does not talk about: its common masculine counterpart, habitual post-left cynicism - as in seen it all before'. Fisher calls this hauntological melancholy. Haunting, spooks, ghosts and apparitions are an almost constant presence on I Started Wearing Black', the second album by the Cologne-based artist Sonae (pronounced so-nah'). The term hauntology shares a fate with retro-futurism when it comes to inflationary overuse and abuse. It's a conceptual container that looks good and can hold a lot, indeed, too much. Furthermore, hauntology has its peak season behind it, a term on the threshold of its expiration date. Nevertheless, I would like to rehabilitate hauntology and use it properly to characterize I Started Wearing Black', because the term is rarely as compelling to describe music as is the case here. The most recent other example could be Asiatisch' by Fatma Al Qadiri, but with a completely different frame of reference. What are the ghosts of this music It rustles, crackles, ruffles, crunches, rattles, scrapes, sometimes a beat emerges from the constant noise, sometimes an obscure voice mumbles incomprehensibly, sometimes a melancholy piano figure is prevented by this noise from coming too much to the foreground. It definitely is eerie - to bring into play another term used by Fisher in the title of his latest book, The Weird and the Eerie'. In British pop-jargon, eerie first occurred to me more often when referring to particularly leftfield, spooky and... well... ghostly dub, a bass-heavy, echoing noise, from Augustus Pablo to Creation Rebel to Burial. Unlike the Wald & Wagner records by Wolfgang Voigt, Sonae is not a kind of neo-romantic veiling with a tendency for escapist nebula. It is more a noise of latency. The noise signals a latent - not necessarily acute - threat, a latent uneasiness about... yes... about what About a System Immanent Value Defect' That's the name of a track on I Started Wearing Black' where something that sounds like a French Horn (or a foghorn) battles for attention through or against the background noise. An email from Sonae: The piece 'System Immanent Value Defect' should actually be called 'I See Turkey'. I wrote it for my fellow student Elif - she is a pianist and Gezi Park activist from Istanbul. Through her I witnessed the inner conflict and agitation that political circumstances can create: her feelings of guilt when there was an attack, with her safe in Germany as a student, watching the events from afar. It was horrible. When her mother begged her not to come home because she feared for her safety, I felt a cold shiver run down my spine. I started with the piece from this mood, beginning with the piano, then the noise (modulated sinusoidal curves), which reminded me of waves and the then heatedly discussed Mediterranean sea: atmospheric, melancholy motifs. In contrast is the anger, the pressure, represented in corresponding sounds - hopefully audible! - During this time I started to think about world views as they can be found around the globe, in how far they held by societies and their political representation. I realized that I know of no political system that is actually about the people and what would do them good. It's always about positions, power, money. I thought that was a lot more frightening on a global scale than merely viewing Turkey in isolation. That's why the piece is called "System Immanent Value Defect", because our world suffers from precisely that. Everywhere, it's all about the wrong things.' Between the wrong things there are happy moments. In the title track, after 184 seconds of rattling and hissing, a beat is unleashed, like an arrow released from a spanned bow, a beatific relief, if there is such a thing. White Trash Rouge Noir' first meanders along spookily, then after 144 seconds it transforms itself into a distant cousin of Einstu¨rzende Neubauten's Yu¨ Gung', but there is no Big Male Ego to be fed here, and the black in the album title is a completely different type of black from that of the Neubauten. Furthermore, I Started Wearing Black' was finished long before the black dresses were worn at the Golden Globes as a sign of protest against sexual violence. Sonae writes that she herself started wearing black some time ago. Her reasons are so-called personal ones: ... resulting from an individual situation (lovesickness), I started to wear black (gaining weight and feeling ugly).' The political dimension of gaining weight, feeling ugly and therefore dressing in black in I Started Wearing Black' lurks within the noise and never becomes explicit and only rarely manifest - or a manifesto. Sonae writes about the track We Are Here': A piece for minorities... in this case, considering the current pop-feminist discourse, explicitly for women. Female artists have long been saying loud and clear that 'we are here' and 'electronic music is not a boys club!' But this pop-feminist moment should only be seen as one part of the dedication of the piece. It is for minorities, for the oppressed, who didn't belong enough.'

Klaus Walter

Having grown up with and on the internet, Martin Steer (1986) has transformed its pull into a concept album that is just as immediate and intangible as the digital world. Bad Stream is guitars and machines vanishing in the spaces between Radiohead and Nine Inch Nails only to reemerge amidst Ambient, Noise, and Drone. Bad Stream, then, is his modus operandi - a hybrid soundtrack to the feelings of resignation, isolation, and cynicism within neoliberal cyberspace and to that strangely numbing comfort of bodies transmuting into zeros and ones in real time.
'I look at my phone even when I play guitar,' says Martin Steer, 'and that isn't even entirely voluntary. The 2010s really changed my perception of how digital technologies and social media affect me as a musician. Through Bad Stream I want to make sense of this particular kind of anxiety, and to use sensory overstimulation as a way to develop an independent and progressive musical language.'
The past seven years took Martin and his laptop and guitar from Berlin to Mexico and Nepal and, as a founding member of Frittenbude, into the German charts and to various festival stages. And yet, Bad Stream is a true 'Berlin album,' out of Friedrichshain, Neukölln, and Kreuzberg and will be released on Martin Steers own label ANTIME. It was recorded with real drums and programmed beats, with shoegaze guitars, acid baselines, piano, smartphone synths, violins, field recordings from the darknet and his voice, whose hopeless timbre conveys reflections on systems, the future, drugs, people, and his own place. In his ever expanding A/V live shows and in the music videos, this is supplemented by complex visuals.

Toby Tobias has a lengthy history of disturbing the peace. This is his second offering for the ESP Institute. On side A, Second Stimulus stirs shimmering staccato chords, roaming pipes and detuned robotic sighs into quite the disorienting stew—the loose arrangement remaining fragmented over 9 minutes of touch-and-go 808 programming, picking up a pseudo bassline assembled from sub toms, introducing a gritty break loop and eventually blissing out into oblivion. With side B's Synchro Surfer, Toby plays with the notion of suspense by gently teasing a muted kick and percussion rhythm under washes of white noise, bleeps and sirens that are tape-dubbed and which, over time, begin a dialogue with each other, as if the machines have declared mutiny on the garage. Toby continues to stretch his limits with his output for the ESP Institute, possibly headed toward a full-fledged devolution of conventional dance music. These two songs may have you arrested for public nuisance.

Emotional Rescue delves deep in to the past with the release of the first ever recordings by UK post-industrial, ambient pioneers O Yuki Conjugate (OYC). Recorded in Nottingham in 1983, the EP's four tracks showcase OYC's early sound: a beat-driven, lo-fi that places them alongside the early British electronic pioneers.
OYC, celebrating their 35th anniversary this year, are known for their "dirty ambient" sound - but it wasn't always thus. In their earliest incarnation OYC explored a more industrial approach characterised by tortured analogue drum machines, one-finger synth lines, played bass, tape loops and even flute. This naive sound template lasted until their debut album 'Scene in Mirage' (1984) before being jettisoned in favour of more ambient explorations.The story behind these recordings is one of brotherly love between bands. OYC swapped time in their rehearsal space for a day's use of a four-track cassette portastudio owned by their associates, Metamorphosis. Three of the tracks included were recorded on May 1st 1983 at The End Room (literally a studio at the back of one of OYC's parents houses) with the remaining track (live favourite "The Clattering Song") being produced a couple of months later.
To date OYC have remained largely unknown in the UK due to their wilfully obscure approach. They have released a series of very well regarded studio albums and innumerable spin-off and side projects that has recently seen a revival of interest in their early years, including appearances on Cherry Red's compilation of formative UK electronic scene 'Close to the Noise Floor' and Optimo's compilation of Fourth World-style music 'Miracle Steps'.
Accepting their fate as musical outsiders, OYC continue to make music with little reference to the wider world. This EP makes a fine addition to that body of work.

Since composer Sean McBride unveiled his first utterance as Martial Canterel almost 2 decades ago, he has produced a body of work both substantial and alluring within the field of live analogue electronic music. Effortlessly fusing a variety of styles and influences, Martial Canterel is one of the premiere outfits utilizing analogue electronics and modular synthesizers. In particular FM synthesis is employed to produce clustered polyphonies and organic atmospheres - a staple of his signature style.Three years have passed since Martial Canterel's last full length album Gyors, Lassù was released on Dais Records. During this down time, McBride found himself in a state of flux, ebbing back and forth between material displacement and musical aestheticism. His expert pedigree in electronic sound and arrangement bridges the gap created by an undecidability between life at home and abroad - his new album, Lost At Sea, is an attempt for the artist to locate common ground, mutating fable with reality, exteriority and interiority.

The album's introductory track, Giving Up, has all of the hallmarks that Martial Canterel has utilized in the past...melodic chorus, upbeat rhythm and classic sequential dynamism. Where the song diverges is in its core theme of nature: nature's return to a period of restoration after the failures and recklessness of humankind. Although this first glance refamiliarizes one with the tight, upbeat appeal typically found within the genre, Lost at Sea quickly takes a more serious and sobering tone.The slower pace of songs like Scampia and Puszta yearn for McBride's complex love affair with far flung destinations. Re-evaluating the political strife and social unrest in these historical locations, McBride delves deeper into political and geological reference points creating symbolic representations using mechanized percussion, white noise and various sine waves.The conceptual nature of Lost at Sea reaches even deeper depths within the waveforms of Astralize, a track based upon academic Donna Haraway's pre-civilized theories of human neglect after the 'azstralization'.

2x12"

Scandinavian duo KSMISK return to Norwegian techno imprint PLOINK to drop their debut album this
February. Real names Truls Kvam and Robin Crafoord, KSMISK made a name for themselves as Trulz & Robin with releases on Planet Noise and Cymasonic, not to mention Prins Thomas' Full Pupp and Rett I Fletta. Since launching their KSMISK project in 2015 the pair have returned to some of these labels whilst also dropping two releases on renowned Bergen-based techno label PLOINK, of which 2017's 'Magma EP' is the precursor to their inaugural album 'Mikrometeorittene'.
Opening the package is the ominous and beatless 'Lonsdaleite', setting the tone for an otherworldly aesthetic throughout. Off-kilter kicks then rain down in 'Silicate' as sinister drones ebb in and out of the mix before meandering back into a ghostly ambient cut named 'Vesta'. Crunchy percussion and tantalising atmospherics then make up 'Blitz', moving into the twisted and syncopated 'Marinate' until the raw sounding 'Spherules' exhibits a compelling groove combined with echoing effects. The dusky 'Wustite' sees the album retreat from 4/4 once again, returning for the effervescent 'Westergas' before concluding on a melancholic outro entitled 'Chondrites'. For this release 2x12' LP PLOINK will release 100 numbered and limited grey vinyl as well as the usual black vinyl.

Lagaffe Tales co-founder Jónbjörn drops four tracks on Iceland's FALK Records beat driven sub-label, FALK DISKS.

Since 2008 FALK (Fuck Art Lets Kill) has become a creative hub for Icelandic and international artists involved in experimental and electronic music, spanning noise rock through to power electronics, underground hip-hop to DIY techno and electro. 2017 saw FALK continue with releases from Icelandic hip-hop producer LORD PUSSWHIP, techno/electro producer ThizOne and Canadian industrial techno musician //HUREN//. Berlin based Icelandic producer Jónbjörn, known for curating Reykjavík record label Lagaffe Tales - one of the main pillars in the Icelandic house scene - now joins FALKS' club focused sub-imprint with a robust four tracker.

Moving away from the deep house sound he's renowned for towards a darker and leaner night time aesthetic, 'Amsiak' inaugurates the release with an infectious electro groove as gurgling pings and acidic clangs and drones are liberally dropped throughout the track. 'Aspekte' is a spacious track with blown-out bass sounds that morph and glide across a tempered, slow burning planar rhythm.

On the flip, Jónbjörn goes for a harder techno sound influenced by his relocation to Berlin. 'Sunnudagskaffi' is a bendy, 4/4 roller that contains hidden grooves below the basslines and the acid pings that wouldn't be out of place on a Livity Sound release. Meanwhile, 'Holy B' is pure warehouse creeper techno, complete with machinic tones and the atmospherics of sweat and grime on dungeon brick walls.

Phantasm is a new vinyl label and collaboration between Amsterdam's Sinchi Collective and the much-admired Night Noise outlet, based in Geneva. It kicks off with a strong EP from The Soviet Union aka Richard Baldwin, including classy remixes from Sinchi themselves and In Flagranti.Baldwin has a signature style that is cinematic and synth heavy and has been formed over the last decade plus. A fine DJ, experienced promoter and self-confessed addict of vintage analogue synthesizers and drum machines, Richard pulls his influences from early electronica, 80s film-scores, and shades of techno right up to the present day. This track was first written on a cold evening in December 2010 using a Roland TR707 and JX8P Synth. After collaborating with his songwriting partner the track was given a haunting vocal and released as 'The Disappearance of Becky Sharp', while the original remained on Baldwin's Soundcloud and got ID requests from all over the world. 7 years later it comes back to life in the form of its original instrumental, with a 2017 rework, plus remixes by Sinchi and In Flagranti.The superb original is a perfectly spaced out and a retro-future bit of synth heavy electronic music. Arpeggiated bass props up rueful chords and icy percussion brings that essential cosmic vibe. It's a timeless track that overflows with emotions and is sure to really make a mark in any DJ set thanks to its rich musicality. The 2017 Rebuild is even more lush and zoned out with sombre chords forcing you to reflect on the deeper meanings of life. In Flagranti—the Codek Records duo based in Switzerland—then lace in some hip swinging claps and make this one a deep disco track that is riddled with little synths, chords and melodies that exude warmth and sci-fi soul. Last of all, Amsterdam's Sinchi cook up a storm with corrugated basslines, long tailed pads and turbulent solar winds that make it that bit darker and moodier. This is a brilliant package of emotive music that is a real statement of intent.

Special remarks : 12 Vinyl, 180gr, limited to 300 pieces Tracklist A1 Der Merowinger (Original) B1 Pure Awareness (Original) B2 Second Track (Original) Info: The second outing on his Midnight Themes imprint, Marlon Hoffstadt touches on featherlight acid, proto trance and jacking house across three tracks, also brimming with sub and dub. Fresh from recent releases on Hot Haus, Ransom Note Records and his own Retrograde, Marlon Hoffstadt is reemerging as a defiant staple of dancefloors far and wide. With his newest release, the Berlin producer encourages listeners to engage with the music without the parasitic interferences of 21st century life. So for the next 20 or so minutes - screens off and blinds down to enjoy some pure awareness. Vital Sales Points: ' 2nd release on Midnight Themes ' previous releases on HOT HAUS, Ransom Note Records, Retrograde, Axe On Wax, Dirt Crew ' Radio & Press PR by 'The Rest Is Noise

DualExercise_l is elaborated on the premise of collaboration and reinterpretation, it presents the original work of two artists along its respective recompositions.
As a musical release produced by Manchester's Daniel Ruane & oqko co-founder smog, DualExercise_l opens up with side A comprehended of two the original compositions which go through reinterpretation on the flip side. Taking the concept of entropic degradation for focus, with harsh textural depth, twisted mechanistic noise and glimmers of breaks, bass and broken techno providing the sonic backdrop, Ruane and smog serve out their singular visions of pandemonium across four slabs of high octane compositions.

British producer Portrait (AKA South London Ordnance) & Somne collaborate on new imprint - Aura Dinamica. The inaugural release arrives courtesy of the duo themselves with Speed, Noise, Machinery & The City. Born out of a series of particularly productive, fast-paced collaborative sessions in Berlin, the three track EP draws on the spirit of classic Plastikman & Basic Channel, eschewing greyscale linearity in favour of high-energy emotive leads, rich texture & groove -with moments of heads-down introspection enjoying as much space as outright dance floor fervour.

The fourth release on Trevor Jacksons Pre- Label is by SKULL. A visceral journey into experimental noise and no wave avant grade beatscapes
The last SKULL release 'SNAPZ' appeared on Jacksons own Output Recordings label in 1999. A seminal collection of tracks that had previously featured on the first two legendary Mo wax 'Headz' compilations (also featuring Autechre, Beastie Boys, Air, and DJ Shadow) as well as tracks that had also appeared on Kevin 'The Bug' Martins notorious Macro Dub Infection albums during the mid 90's.
Reactionary sonic statements aimed at the coffee table world of Trip Hop, fuelled by his dissatisfaction and dissillustionment with Hip Hop of the time, Trevor pushed himself into uncomfortable and far more extreme areas than he had before, areas he felt unable to explore with his Underdog productions, which were mainly being utilised for major label remixes at the time.
Influenced as much by the industrial pioneers, post punk and new wave of the past as the burgeoning post rock scene in the mid 90's, This new set of previously unreleased recordings originally produced between 1996-2000 are equally as intense and visceral as the early releases. Dusty samples, raw beats, tape loops, and primitive effects combine to sound as relevant now as when they were initially created.

Kalakuta Soul Records joins forces with waf80music to proudly present Kai Niggemann's solo debut, an all original album of outrageous poetically abstract music created live and without overdubs on a Buchla 200e Electric Music Box, one of the rarest and most sought after electronic music instruments. Working on the platform since 2013, Kai Niggemann has become one of Germany's leading artists who perform live with a Buchla 200e. His style is an electro-acoustic storytelling, a clubby dreamscape and a poetically-abstract kraut-infused energetic mix of new Elektronische Musik with contemporary club culture. Nerds love the technology and clubbers love the throbbing drive of the basslines. It's all improvised and recorded live in Berlin — yet it sounds meticulously crafted in a dark basement studio throughout the entire last winters. Kai is a member of the 30-piece kraut-noise-jazz collective "The Dorf" and the electronics duo "The Last Books" (with Achim Zepezauer), performs and records with Mia Zabelka (Vienna) as "Redshift Orchestra", cofounded the internet-computermusic "European Bridges Ensemble" (EBE, e-b-e.eu) and the electroacoustic duo "Resonator". His most recent releases were the CD/vinyl "Lux" (feat. the noise drone artist N), "EviL/EvyL" and the cassette "Made in Österreich" with The Dorf (feat. Caspar Brötzmann & FM Einheit (Ex-Einstürzende Neubauten) or "Thinking Light" by Redshift Orchestra (duo with Mia Zabelka). He performed concerts with Mia Zabelka (Wien), Yoshio Machida (JP), Trap & Zoid (BE), Stian Westerhus or Shahzad Ismaily (with The Dorf) among many others.

The Remixs:
Pointsman - we dont know who he is but he provide a deep big room monster.
Tripmastaz - Probably the only funky Russian you will ever meet. The only Russian artist with releases on Cocoon, Minus, Desolat, Cadenza. The only Russian artist with 4 vinyl labels. Hes funky housey remix is the most faithful of the four.
bpmf - Schmer label head provides a grimey and noisey big bottom Soviet style jam.
Steve Stoll - NYC Acid legend made a hard banging acid tracer.

In 1996 Serotonin label heads Selway and Szostek went to Moscow to perform at the invitation of Magazine. Synapse performed at the Waterclub' and met the legendary DJ Compass Vrubell. They went to his studio' where he had perfected the art of making entire tracks out patterns on the Yamaha DX-5. Szostek brought a DAT of these jams back to NYC and Schmer-003 DJ RX-5 A Taste for Crap' was released as a small run white label in 97. The run sold out and disappeared to be forgotten forever...

Until 2016 Szostek casually mentions its existence to Techno Uber-Nerd Nina Kraviz who just had to have it for her Fabric 91' CD. So DJ RX-5 was back from the ash heap of history and Schmer got a NEW release from him on Schmer07.

Then Schmer got the word out far and wide that they'd like a remix EP for two of the originals: Compass provided stems because like a miracle he still had the patterns after 20 years. Heeding the call were Pointsman, Tripmastaz, Steve Stoll and Schmer's own BPMF. So this is what you get: A Taste for Remix'. It will leave your lips wanting more, for sure!

E.D.C wishes to explore electronic music through different universes where spaces, noises and textures are central to the creative process. His researches aim to experiment and think outside the box, allowing us to navigate through purposely-colored music and other worlds where Every Detail Counts.

In this first release, the reverberations in each track create a shaking outcome that warns about the upcoming epic adventure with the wind of indestructibility that the tracks blow in our direction.

Endless is the key to understanding the whole release. Electric from the first second, it explains the journey we are about to embark on. Dark and almost gloomy from the beginning, the break gives the impression of a light breakthrough, as if the way suddenly clears.

The City of Clones takes us to a heavy atmosphere, as if we were waiting in the middle of a fog for the untying of the plot, though the denouement remains uncertain.

When Nobody Cares is an experimental journey through unexplored landscapes, with the discoveries marching under our eyes, which contribute to create an experience of fullness.

Too Many Ifs reminds and completes the cycle. Chaotic on purpose, it unveils the encounter of an intriguing living shape.

After a triumphant return to Batu's Timedance label with 'Intrigued By The Drum' Ploy keeps the pressure high on his new EP for Hemlock.

Unruly exposes further light on the workings of his now signature style. Waves of metallic percussion tessellate around a thumping central bassline. Pneumatic flashes of noise seal a dense atmosphere full of equal parts euphoria and dread.

Garys is Ploy's most stripped back and potent club tool yet, striding into 'proper techno' territory, equipped and optimised for the highest yield.

Lost Hours drops the beats and pumps out a thick fog of hazy chords and bellowing subs. Perfect for after hours listening.

We welcome back long-time First Word family, Souleance, with 'Bamboule', fresh from their respective cut-ups for our sister label, Excursions, and their recent 'Raw Funk' set, we have a 5-track EP containing something for all the family, crafted with love once again by France's Fulgeance & DJ Soulist. A truly eclectic collection, comprised of afro grooves, tropical vibes, b-boy rhymes, head-nodding shakers and intensely hype floor-fillers. A seriously fun selection.

It kicks off with 'Partay', a mid-tempo slice of bouncy tropical boogie that does exactly what it says on the tin. An effervescent synth-bassline rides on top of a delectable disco shuffle, complete with classic reggae chants.

Title track 'Bamboule' is a seriously energetic afro-funk beast. A truly infectious percussive rhythm track, laced with an immense bassline, vocal chops and synth rides, this one is 100% guaranteed to entice any dancefloor into a trance-like state of bugged-out body moves.

'That Guy' is some uptempo piano-rolling hip hop business, enlisting the help of Brooklyn MC, Von Pea, from the crew Tanya Morgan, who've been making noise on the independent hip hop scene for over a decade, as well as recently collaborating with GUTS.

We dip down to around the 85BPM mark for 'J'aime Marcher', a lounging boom bap bumper with sloppy drums, jazzy rhodes and vivacious horns.

Closing the EP is 'Brown Bags', an almost Dilla-esque cut-up, complete with rolling neck-breaking drums, sweet soul samples and stabs of prog rock. An abundance of variety, we think you'll agree.

For those that don't know, the Parisian duo hooked up just over a decade ago, and haven't stopped to rock & shock parties, clubs and festivals globally since, building a fan-base of solid party people and revered selectors along the way. As always, the wonderful Alice Dufay provides the artwork, making this an essential package for you and yours.

Awake at an undefined hour. Floating between the realm of dreams and open awareness. Accept it — you're a headspace passenger. Talking to a machine is a thrill for a moment or two. You want to go out, need to get lost. It's still yet all under the surface ... but you know it's going to happen, eventually. What you need to do is: return to the same old place. What you think is:

I hope the roof flies off, and I get sucked up into space.

This is the debut album by Berlin-based musician and futurist Andre´ Uhl. Crackling noise, moody arpeggios, and haunting melodies tell tales of the hazy past, moving into the twilight of the future. Each of the 13 songs is a dark and cinematic piece on it's own - altogether combined a compelling story, here for the listener to explore.

The album is available digitally and on vinyl in a limited edition of 300 copies, including a booklet of 13 short stories by different writers like the Czech visual artist and poet Katarina Hruskova, Berlin-based subcultural magickian Daniel Jones, and the British novelist Chris Brownsword - each story inspired by one of the 13 songs. I hope the roof flies off, and I get sucked up into space is the first trueness presented by Neofakt, a new label for audio, text and visual art.

J.C aka Jose Cabrera and Kastil collaborate and come with the exciting results. A fresh blend of fierce techno, ambience, industrial, noise and found sounds recordings. A full length captivating album that pushes and pulls you through an edgy and engaging world of sound. Part 1 mixes up trance-inducing deep techno with punishing drum programming. Synths have a life of their own as they whip and snap about and bring a post apocalyptic sense of foreboding. Some tracks are abstract modular gurgles and others are lo-fi, heavily textured affairs that are beguiling beautiful. The use of modular synths lends the whole thing an unpredictable and analogue feel that makes is bristle and brim with life throughout. Part 2 focuses on more suspensory ambient sounds. It means tracks zone you out and get you thinking, with distant melodies drifting next to warm solar winds. When drums do appear they are deep down below and dubbed out affairs that unfold slowly. A album that keeps you locked from start till end!

Brewing another supremely heavy release on the horizon, Moonshine Recordings is stealing the spotlight once again. Proudly presenting Violinbwoy's first solo album, unadulterated sound system pressure at its finest. Slavic chants and drum rhythms meet the unrivaled power of Violinbwoy's eccentric take on modern bass music 'Fyetisov' kicks off the stellar 3x12" release with a high-powered Stepper emission. Setting the tone with a rumbling bassline and supremely energetic lead instrumentation, full force sound system music down to its core. Shining in a different light, 'Moonspell' reveals its melancholic nature gradually intensifying through otherworldly percussion and anthemic vocal sample placements. Stripped down to its bare bones,'Dubplate' unleashes its detuned, percussive shackles for a massive onslaught of four-to-the-floor, while keeping true to Jamaica's music roots. Warbling tape echo spheres and excellence in emotive expression Violinbwoy's collaboration with singer Marina P turns out to be an anthem by itself enthralling, whoever gets caught into the midst of this hymn of a track. Not backing down one step from the established level of quality, 'Sound System' featuring Junior Dread excels once more in a crystal-clear demonstration of modern roots music mandatory repeat listening. Rejoicing in simplicity, 'Rig Alert' holds true to what the name suggests - cinematic bass meditation, fluidly scaling with the size of its speaker counterpart. Moving on to Dan s vocal skills in 'Wanted': Rastafarian wisdom chanting along a skanking rhythm and orchestral atmosphere. Ethereal bells being submerged in moving air and scattered white noise, 'Run & Hide' demonstrates a more experimental side within the LP exhibiting Downtempo/Ambient inclinations in a magnificent combination with Dub characteristics, only increasing in energy to the call of the dub siren. Ready for more, the title track 'dod' captures us within the expressive, introductory playing of the violin, deserting it for echoes and sub oscillations alike. Calling upon the prowess of Rider Shafique, his harmonic toasting is being escorted by a forward-minded halftime groove in 'Find The Way'. Topping the LP off with Sis' excellence in telling a story through song on a hypnotic instrumental. The nature of last tunes is often powerful, serving to concede with an explosion, appropriate of the session as is the case with 'Surfacing' closing off the monumental EP with visceral lead movements, setting the tone alongside driving drums and one more murderous bassline, sure of receiving countless rewinds in the near future. Encompassing a plethora of current Roots- Dub- and Steppa- influenced styles, Moonshine's next LP installment is sure to be received for what it is: a definitive, quality expedition of what's firing up dance floors around the globe.

Mint Condition - A brand new record label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
Jaime Read is something of an unsung UK legend. An original, unique producer who has been making noise in the underground in his own way, emanating from the South coast of England, since the mid 90's. 'Relief Sevensixty' is a collection of Read's rarer tracks that have appeared in a roundabout way, on a legendary Chicago label in a tale that has by now been widely documented. But that's a story for another time. The real focus here is the music, of course. Across 4 tracks this EP shows what a dynamic producer Read is, the music contained within has a depth and maturity and of course it's some funky as, futuristic, space Techno that sounds like it's just escaped the warp drive and landed here on earth and implanted itself in our eardrums. From the joyous, glorious, electronic funk of 'Douch Me' to the curiously monikered piano driven, subterranean stormer 'Droopy Dancing' the whole EP captures a real insight to a remarkable UK talent operating from under the radar. 'Relief Sevensixty' is the first part of a 2 EP set covering Jaime Read's amazing music. Keep your eyes open for the second installment, winging it's way to us through the cosmos as we speak.... soon come!
The 'Relief Sevensixty' EP has been legitimately released with the full involvement of Jaime Read for 2017 and remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your new favourite reissue label - Mint Condition!

ey campers, we are back with some new goodies for you! This one is by the
completely virginal duo Death Bulb, who have never released a single track
before, which is quite ridiculous as they have been producing this stuff since
2012. This is simply some of the best industrial noise techno around!

It starts out with the title track Zement, a total dancefloor killer that still gives
me goosebumps after hearing it about a million times. You will eat this up!


Second on the A side is Breathe In, Breed Out, a hilariously rough beatdown
with lots of heavy breathing involved - slays it every time! Ultraviolence never
felt so enjoyable!

The B side starts out with a rare guest appearance of label daddy Hanno
Hinkelbein who donated a remix of Zement for you people who like
straightforward techno. Lots of heavy bass and a crunchy ravepad, driven by
relentless percussion.

The vinyl ends with the broken banger Bettina's Betrayal - noise at it's
finest, somewhere between I-F's I Do Because I Couldn't Care Less...' and old
AFX.

No-one else makes music like this: devilishly complex but warm and intuitive, stirring together a dizzying assembly of outernational and outerspace influences, whilst retaining the subby funk-and-hot-breath pressure of Shackleton's soundboy, club roots.The result is an evolutionary, truly alchemical music — great shifting tides of dub, minimalist composition and choral song (Five Demiurgic Options), ritual spells to ward off the darkness (Before The Dam Broke, The Prophet Sequence), radiophonia and zoned-out guitar improv (Seven Virgins), even the febrile, freeform psychedelia of eighties noise rock (Sferic Ghost Transmits / Fear The Crown). Over the five years since Music For The Quiet Hour, Vengeance's vocal and lyrical range has rolled out across this new terrain. Throughout these six transmissions he's hoarse preacher, sage scholar and ravaged bluesman, blind man marching off to war, and exhausted time-traveller warning of impending socio-ecological catastrophe. Six dialogic accounts of our conflicted times, then, expanding beyond the treacly unease of the duo's early collaborative work into something subtler and more emotionally shattering — its shades of brightness more dazzling, and its darkness even murkier. "We almost didn't hear it when the foundations went."

One half of Canyons, Pink Gin and the Hole in the Sky label, Leo James releases his solo debut You're not a machine on his new imprint Body Language. Record comes with printed sleeve.

You're not a machine is the first solo release from Leo James (one half of Canyons, Pink Gin and the Hole in the Sky label). Part 1 builds around a hypnotic, programmed percussion rhythm. White noise swirls at the ceiling, while a single note bassline punctures through from the basement to the first floor. Part 2 shovels an industrial-funk-feeling through a train tunnel with its raw 606 beat, crushed cymbals and dubbed out bassline. The synthesizer at the end really takes you there.

About the label:
under the cold stars we dwell
nothing but emptyness in our hearts
divided and alone
while drifting towards an inevitable void
we are dancing
we are dancing as if this void does not exist
and our nakedness is just another protecting shield

About Meer:
Meer is the experimental and ambient project of the techno rave producer Ambre. In between industrial sonorities, occult rhythms, arabic references and electric guitar improvisations, Meer aims to combine the occidental and oriental cultures. Through dark atmospheres inspired by his North African roots,
he composes his first EP on Voidance Recordings, 'Yawm Alhissab, Rabbok Sayakouno Aadowok ».

About the EP:
A1: Rouhk Hia Sada Al Aadam is starting the EP in a frenzy. Drones and blasts of noise are echoing the nothingness buried deep within our souls while constantly pushing hard against battering percussion as if trying to a way out of this agony.

A2: Al Nasr Wa Al Hazima in contrast is an ambient tune, with field recordings and arabic references resembling some kind of solace at first, before turning into a more discomforting mood with a slow and steady beat kicking in after the first third of the track.

B1 Aindama Yahino Al Nar, Kolo Chayin Sawfa Yahtark is raising the tension again, machinegun-like percussion is pushing the track forward, while deep drones are opposing a contemplative mood, thus evoking the feeling of a disaster lurking just around the corner.

B2 The Nastika Remix of Aindama Yahino Al Nar, Kolo Chayin Sawfa Yahtark is turning the original track inside out. The mysterious producer(s) emphasize the more occult parts while piling up layers of layers of sound and in doing so create an even darker mood.

My Favorite Robot welcome the collaborative outfit of Rodion & Local Suicide for their next EP, which comes boosted by
remixes from Los Mekanikos, Moscoman and Fairmont, as well as artwork that is made up 3D prints of the act.
Rodion is an Italian classical piano player and acclaimed producer whose albums and EPs for the likes of Gomma, Nein
& Nang have helped to reshape modern disco. Also one half of Alien Alien and boss of the Roccodisco label, he is a real
studio visionary who for ten years has mixed up classical, trance and psychedelic sounds. He makes everything from
chamber music to computer game soundtracks, has remixed Giorgio Moroder and counts the likes of Tim Sweeney, Erol
Alkan and DJ Hell as fans. Berlin-based duo/couple Brax Moody and Vamparela aka Local Suicide have been
collaborating together since 2007, either as a DJ duo, in bands, or as remixers and producers. They have played all over
the world and are in favour with the likes of XLR8R, Thump and Mixmag for their fusions of slow techno, post disco and
acid.
These original analog tracks were recorded between 2014 and 2016 in Rodion s vintage studio in Berlin. They came about
when they all met following one of his gigs just after he moved there, and after being in touch online for a while. During
one of the nights, Rodion brought friend, producer and singer Ali Bey (part of the Belgrade DJ collective Beyond House
and a famous record digger) to contribute.
Impressive opener Abu Dhabi includes samples from field recordings from all over the world. The most prominent is the
recording from an airport in Bangkok where Brax Moody and Vamparela were waiting to catch their plane to Saigon
and it ended up being the main vocal hook. The alluring track is a wonky feeling number with gurgling synth lines and
gentle releases of white noise lulling you into the groove. A searching synth line and distant siren add urgency and the
whole thing feels urban and futuristic.
Comprised of Mexico City producers Max Jones and Eddie Mercury, Los Mekanikos combine raw hypno-rhythm tracks
with pumping grooves that pay homage to Chicago, Detroit and Berlin. Their special remix is another late night and
unhinged number that encourages you to freak out amongst the panning and paranoid synth patterns and robotic grooves.
Then comes the brilliant True Love Floats with Ali Beys singing and Vamparela s vocoded vocals. The interplay between
the two is tense and alien and makes for a perfectly inhuman groove with popping bell sounds, undulating pads and spooky
deep space ambiance.
Remixing this one is Berlin via Tel Aviv artist of the moment and Disco Halal label head Moscoman, whose raw machine
grooves have impressed on labels like ESP Institute, Correspondant and I'm a Cliche. His slow and purposeful version is
deep and psychedelic with disorientating vocals and blistered synths wallowing in a menacing urban landscape. Buy it
digitally and you will also get a fine remix from label regular and Canadian Fairmont. He runs the Beachcoma label, has
worked with cult outlet Border Community over the years and mixes up dark disco and goth into his own fresh sounds. His
remix here is more direct and driven, with powerful drums and well sculpted synths making it another great rework.
This is a unique sounding package featuring plenty of heavyweight names and marks another cultured outing from the
always considered My Favourite Robot label.

Andras establishes a new home for his out-house productions with Punp Records. While House of Dad laboured in detail, 'Sanity' targets club play - speeding tempos laced with the larrikinism of Boiler Room, Australian reality TV and shark siren cut ups. 'Vinyl Only' takes a swipe at the 100% mentality with a stereo bassline threatening to derail the stylus, further sidetracked by being digitally available a week before the 12'. On the P-side, '40k' pulls swimmers from the Bondi rip while 'Sanitiser's simplicity cleanses the grease from Andras' former plumbing exploits.
Words by Michael Kucyk (Noise in My Head)

Welcome to the long awaited 5th vinyl output of HueHelix. This time, we focus on Ryuji Takeuchi, who brings 4 versatile 'factors' to complete the 'Renaissance Artistique' EP. Factor A is no doubt the most straight techno style banger, which Ryuji himself has been dropping in a peaktime of his every set at gigs in Berlin, Rotterdam, Osaka and more, that always takes audience to another place. Factor B shows a strong influence from EBM, noise, industrial music, which can be a starter of a set, with mad and strong break before its peaktime. Factor C is for sure the strongest and hardest track in this EP, with high BPM with crazy acid synth melody. Factor D closes the EP with percussive and synthy aspects. This EP really indicates how Ryuji has evolved for his entire career and where he's heading to. Definitely the one not to miss. Please keep your eyes and ears open, HueHelix never stops.

'Great Many Arrows' is the 6th studio album from Damien Dubrovnik, the Danish duo of Loke Rahbek and Christian Stadsgaard. It is also the 200th release on their Posh Isolation label, marking 8 years for both the label and project. The label's inception came with Damien Dubrovnik's debut album, and since then the two have been inseparable. Without Damien Dubrovnik there would most likely have been no Posh Isolation, and vice versa.

'Great Many Arrows' is undoubtedly a high point in the varied discographies of both Rahbek and Stadsgaard. It is the most realized Damien Dubrovnik recording to date, and a standout in Posh Isolation's troves.

As a record, 'Great Many Arrows' manages to translate the intensity of the duo's often unrestrained live shows in to carefully crafted studio productions. Unlike the pair's earlier and largely electronic recordings, the compositions on 'Great Many Arrows' set organs, cellos, violas, wind and other acoustic instruments against the backdrop of an electronic landscape.

The new toolset is as apparent on the surface as it is in the enclosed detail, taking the project further from its noise roots than it has ever been. This is not to say that Rahbek and Stadsgaard have traded ferocity for formal constraint. It is rather the opposite. While 'Great Many Arrows' is certainly the pair's most 'musical' work to date, its veneer of accessibility might also make it their most terrifying.

The strength of the recording lies here in the interaction between the melodic, acoustic instrumentation and the bulldozing electronics. Moments of beauty and light are transfigured into utter chaos and rage, the mesmerising change an expression of the equal and opposite form's natural sway as it beckons and slips between its own passing.

'Great Many Arrows' takes its name from a historic archery competition in Kyoto, Japan, in which archers would shoot as many arrows as possible for a 24 hour period. On April 26, 1686, Wasa Daihachiro from Kishu successfully shot 8,133 out of 13,053 arrows, averaging 544 arrows an hour, or 9 arrows a minute, becoming the record holder.

Mini Album with very high quality packaging. printed clear pvc sleeve over printed outer wich creates a stunning grafic effect when pulled out!

shadowy multidisciplinary artist & videographer denial.of.service returns to FILM for an extended EP of wrought iron electronics, channeling the spirit of classic electro, Industrial & Noise. the artist, active since the 1980's producing video work for a host of high profile names - including not least david bowie, currently transmits sporadically from an undisclosed location, though contemporary work has appeared on the creators project, as well as making the vimeo staff picks on an almost regular basis. recently, video commissions for minimal wave & jealous god affiliate In aeternam vale have ap-peared online, showcasing the artist's trademark crushed, hallucinatory visual aesthetic. If 2015's sensou EP communicated a more brooding, emotive side to denial.of.service - then contour & shape works in stark contrast. the palette remains relatively unchanged, with the 808 providing the back-bone for most of the compositions, paired with the same warped vox and heady synth leads - but this time around the production aesthetic is harsh and abrasive and there's a powerful, burning immediacy to the work. gone are the delicate, introspective leads & gently saturated drums, and in their place bursts of caustic, high energy noise and twisted drum machine strikes - and though much of the more tentatively dance floor material sticks to a stepping half time rhythm, 4x4 moments make a welcome appearance. contour & shape is bold and direct - a thunderous, high-energy salvo from a true creative with a rich and unique electronic music heritage.

It s time for Lewis Fautzi to introduce his first album on Pole Group, a collection of ten tracks of cosmic techno, carefully crafted making a soundtrack of the future, deep, intense and scientific.

Psycho path is the intro, made of granular textures, subtle drones and ambiences, stepping into Entering, pulsating sub bass, continuous sinoidal sequences, pads and tension.

Subconscious starts with the beat, opaque bass drum, micro hi hats, atmospheres and monotonous sequences at a low bpm rate while Diffracted speeds the tempo a bit with electric synths, flanges and twists creating an hypnotic number. Rentless pain follows, with resonant bleeps starring until assymetrical sequences appear and the synth lines evolve in a hi pass filter galore.

Seasick is humid and liquid, gummy sounds, clean drum programming, spaced out sounds and a lot of room. Then we come into Furrow, aimed to the intelligent dancefloors out there, synthetic bubbles, rolling sub woofer action , bleeps and noises. Cyclic Human reminds to the best scifi techno with bell like sequences, digital clicks, jazz harmonies and abstract progression.

Number nine is Optic Chiasm a direct number based on an obscure drum workout and filled with hi pitched relentless sequences, intelligently arranged to create a mental feeling as well as inducing to dance. Album closes with The Brain Revolution, like an evolution of Entering, beatless but still preserving the tension and the movement.

A coherent and complete collection of precise, surgical and futuristic music to be enjoyed as a whole adventure..

DELUXE BOX SET
Includes bonus 12" + prints + CD + enhanced CD
The xx today announce details of their highly anticipated third album. Titled I See You, the ten song album will be released on 13th January 2017 via Young Turks. I See You is the follow up to The xx's two previous albums - xx and Coexist - which have sold over 3 million copies between them, winning a host of accolades along the way.I See You marks a new era for the London trio of Romy Madley Croft, Oliver Sim and Jamie Smith, both sonically and in terms of process. For while xx and Coexist were both made in relative isolation in London, I See You was recorded between March 2014 and August 2016 in New York, Marfa TX, Reykjavik, Los Angeles and London, and is characterised by a more outward-looking, open and expansive approach. Produced by Jamie Smith and Rodaidh McDonald, I See You is The xx at their boldest yet, performing with more clarity and ambition than ever before.I See You will be available on CD and LP, with each physical format featuring a debossed mirri board sleeve.
Two vinyl versions of the album, with full product descriptions as follows - Standard Vinyl: 10 tracks, in a debossed mirror board sleeve with a download + CD copy of the album - Deluxe Box Set: Silver mirri board debossed box containing the album on 180g heavyweight vinyl, with an extra 12' including 3 bonus tracks, album CD, enhanced CD featuring a live video of bonus track 'Brave For You (Marfa Demo)' and 3 exclusive prints by Alasdair McLellan.

* Perc & Truss rework two key cuts, taken from Mumdance & Logos' debut album 'Proto' and deliver us a pair of hard-as-nails techno bangers.

* 'Move Your Body' is mutated from the hardcore-referencing original into a searing industrial belter. Perc & Truss' version makes use of distorted 808 drums and rising machine noise to ramp up the tension before eventually dropping out to the 'move your body' vocal sample and unleashing a terrorising acid line. Dancefloor killer.

* Flip for 'Hall Of Mirrors' which sees the pair re-route Mumdance & Logos' original into a 4/4 roller, peppered with metallic percussive hits and and a robotic bass riff. Hard, uncompromising techno built just the way it should be.

Adriano Canzian has by now developed a trademark sound unlike any other, a genre-twisting hybrid of EBM, techno, industrial and acid beats that has acquired nuance and influences throughout the years, aiming at that uniqueness he's always been reaching for. Confessions Of A Dangerous Mind is a breathless, unrelenting march of a record, a whirlwind of classic industrial sounds driven by a hammering pulse and a shimmer of melting matter. David Carretta's remix smoothens out some edges into a mix of techno and new beats, then Canzian charges on again with Sick Goates , skillfully adding noise frequencies to a goth background, before letting Spain s The Plumbers close with their rendition of Sleeplessness , marked by a dub-sprinkled techno no less belligerent than most of Canzian s catalogue.

We welcome our very own Kessell to Pole Group Recordings, being a pivotal part of the Spanish techno scene with his project Exium with Hector Sandoval, he runs his label Granulart curating the repertoire with the best producers out there. Now is time for his debut as a solo artist with this four tracker, including three original tracks and a Reeko remix.

First cut is Cloned motions, a relentless number made of an obsessive sequence that runs over a percussive sea of sharp elements that grow in space with reverberated washes and a continuous arrangement. A mental exercise.

Chains of abstraction goes more bleepy, with a low filtered start that soon is filled with cosmic sinoidal sequences running all over the track while drums mutate and take turns to add an alien groove to the overal feel.

B side track one is for Reeko, remixing Sensorium, opaque kick drums, subtle sequences and white noise drones combine their movements in a dense exercise that fills every possible frequencies in the sound spectrum.

The original mix of Sensorium is based on bell like fm synth lines, lots of reverb, noise crescendos and an hypnotic groove below to keep things movable.

A precission work from the hands of a veteran expert producer.

Klyne first caught everybody's attention with their critically acclaimed debut Paralyzed EP for Aesop, as well as their maiden remix, a rework of Disclosure's Omen feat. Sam Smith. Water Flow is their follow up to the acclaimed Don't Stop, their Because Music debut released earlier this year; its stunning video was directed by acclaimed choreographer and film maker Holly Blakey (Florence and the Machine, Jungle, Coldplay, Young Fathers) and is nominated for a UK Music Video Award. The duo supported Years & Years and label mate Christine and the Queens on tour this year, and performed their first UK headline show for the sold out Dummy presents Because Music event at the Ace Hotel, London in the summer. More shows will be announced shortly. Vital Sales Points: "mellow electronic pop that's like a long-lost cousin of Jai Paul" - The FADER "infectious and effortless... groove-laden soulful masterstrokes" - VICE / Noisey "minimalist vibes, captivating vocals... impeccable melodies" - Pigeons & Planes "gorgeous electro-pop" - Spin "more fire from the young Dutch duo... the boys are off to a strong start" - i-D