Cerca:pole

Following 1 or 2 small run / mailorder lathe cuts, Polytechnic Youth follow it's hugely successful 'Popcorn Lung' label compilation LP, with it's first full length of the new year, and man... this one is just wonderful! A mighty record to kick off what promises to be another hugely productive, constantly busy year for the Crouch End based synth label.

PY often likes to quote the artist directly in it's press releases, and this one is no exception. Gabe's own words, more than adequately explaining the path leading to this killer set for 2019; 'It feels a little ridiculous to pretend that the person introducing you to Gabe Knox is some kind of bigwig press agent and not just Gabe Knox himself, so let me, Gabe Knox, tell you a little about myself in that hopes that you'll give my music a listen.

In 2014, after years of moderate success as a local musician and club DJ in Toronto, Canada, I looked at my collection of barely functioning analogue synths and drum machines and said to myself 'Instead of trying to unsuccessfully make music you think other people will like, why don't you make something that you'd actually want to listen to for once' I wanted to make music that had the drive shaft of Neu!, the punishing low end of King Tubby, the interleaved melodic lines of Vince Clarke, the melancholic, otherworldly whimsy of Raymond Scott and Delia Derbyshire, the hypnotic drone of Spacemen 3, and the analogue intimacy of Le Car. I wanted to bring the euphoria and hypnosis of dance music to the rock kids, and the energy and excitement of rock music to the dance kids.

This was going to be a tough sell in the clique-y Toronto music scene, so I figured the best way to get the music out there would be by recording when I can and self-releasing a steady stream of EPs online. They would all be a series, a snapshot of the evolution of that initial idea. ABC represents a compilation of the best songs of the first three EPs, subtly remixed and remastered to best suit vinyl. I hope you love listening to it as much as I loved making it.'

This really is a remarkable record. Displaying all the PY traits of icy cool blasts of minimal synth, motorik grooves, melodic pop via passing nods to early mute and sky records. Never before did label head Dom think he'd get the chance to namecheck 2 musical heroes from wildly differing poles -Vince Clarke and Spacemen 3- into one LP PR sheet, so he's understandably excited for this one's release!

250 copies on yellow wax in hand numbered, reverse board sleeves. Sure to go real quick....

R&S Records present the first key transmission from the Lost Souls Of Saturn's multidisciplinary conceptual project. The title track of the LSOS debut EP is revealed immediately, with the full 'Holes In The Holoverse' EP to follow on the 1st March.

Primarily LSOS are Seth Troxler and Phil Moffa, with opaque additional participants congregating to combine music, imagery, storytelling and communion into an inextricably linked whole, all wrapped-up in a philosophy of their own making.

Check the launch visual for 'Holes In The Holoverse' here:

The EP follows their performance debut as part of the 'GaiaMotherTree' installation with artist Ernesto Neto at Zurich Main Train Station, and a second show at Houghton Festival. Following these site-specific ambient renditions, the full LSOS live experience will be unveiled at the Village Undergound in London on the 18th April 2019, with further live performances to follow (including Field Day) and to be announced.

The classic-R&S-style groover 'Holes In The Holoverse' propels ever starwards, whilst the acid techno of 'World of the Wars' evokes a probe motoring through the cosmos. Further solar system surfing comes from world-renowned, Turner prize winning artist and photographer Wolfgang Tillmans. For his first ever remix, Tillmans tweaks the frequencies, adds extra percussion and his own 'va va voom' vocals.

Attempting something creatively that's above-and-beyond, LSOS explore new ways to open doors of perception and challenge the presumed reality, whilst capturing the spirit of Alejandro Jodorowsky, HG Wells, Sun Ra and the KLF within their music, live experiences and forthcoming films.

These spiritual, psychoactive aural vibrations resonate for a long distance, all the way back to something deeper and more enchanting than the prosaicism of modern life:

'We're searching for signs from another dimension and channelling a higher consciousness. We want to explore the concepts of reality vs simulation/hologram, ancient knowledge and ritualistic experiences. We're inspired by art, film, literature, astrology, mysticism, cults, rituals, paganism, synchronicity, conspiracy, altered reality, virtual states, spiritualism, chaos, cosmology and science. Both sci-fi and real science especially interest us - from Philip K. Dick books, to NASA articles, to the hexagonal storm at Saturn's North Pole.'

Lost Souls Of Saturn are preparing their debut album for release in June 2019.

On Pedro Vian's second album, the now Amsterdam-based artist opens up a new sonic chapter of his life, running through depths of emotions and feelings, traversing moments of euphoria, fury, serenity, hope and love. Recorded between 2014 and 2018, the self titled LP opens with a melodic flourish, drops down through mournful vocal driven pieces and lands on fast moving synths across a set of 12 deeply personal tracks.

A follow up to Vian's 2016 acclaimed debut album 'Beautiful Things You Left Us For Memories' - supported by Pitchfork, RA, XLR8R, Ransom Note, The Quietus, NTS - this sophomore LP shows the breadth and maturity of Vian's sound, falling in between the cracks of downtempo electronica, ambient and post rock. Pedro discloses: 'I have tried to be sincere, transparent and pure. During the recording process I have avoided artificiality. I do not like the overproduction of music. I like to feel the naturalness and the essence of the beat of the instruments. I like to look inside until I find something real with which to communicate'.

'Pedro Vian' arrives on Vian's own Modern Obscure Music imprint, home to like-minded artists such as Jamal Moss, Gavin Russom, Tevo Howard, Ivy Barkakati, Eterna and Sau Poler. Vian initially cut his teeth in the Barcelona scene, first as part of the duo Aster with JMII on Hivern Discs and Jamal Moss' Mathematics then as a solo producer on his own Modern Obscure Music, MM Discos and Spring Theory.

Contemplate, reflect, observe and record. Constanijn Lange presents a story of reminiscence and memory, partial witnesses of past and present journeys. Ideas and ideals of what has been and what could have been entangled between complementing poles of drive and meditation. The result is his rst full length album and a personal story that unfolds all its details the closer you get.

Metric Systems is the name of a covert project of over 20 years duration. It has moved across multiple continents, under multiple names. The 8 songs that make up 'People in the Dark' were recorded between 2000 and 2016 in various locations across Sydney, Melbourne and New York. The bright-eyed sci-fi fascination of Australia's Clan Analogue collective intertwines with the more sinister facets of modern technology - echoed voices pepper the album like fragments of a surveillance tape collected by our digital panopticon. A pervasive sense of paranoia and unease winds its way through these 8 tracks that move between techno, downtempo and more abstract strains of electroacoustic experimentation. Fittingly housed in a striking sleeve by American photographer Trevor Paglen, whose MacArthur-winning work revolves around these same themes of omnipresent surveillance and data mining.

'People in the Dark' opens with the wordless vocals of 'Your Room', drifting over the unspooling synthesizer sequence that seems to swell and recede from the foreground like the ebb and flow of a lapping tide, lapsing into dreamy ambience before the drums come back in. The smartly programmed drums are the focus of 'Chinatown Warehouse', whose hip-hop swing gives a distinct 'nod factor' to the otherwise hazy mechanics of the track. On 'Laika', a 303 line weaves its way across the subdued mid-tempo groove, gently recalling the ambient-acid of Susumu Yokota's 'Ebi' project. The penultimate track, 'Stellarwind' starts with a dark, foreboding drone before shining pads arc over like a glimpse of light through the track's murky darkness, the tension between these two poles moving together as the song unfolds.

This record reflect just a small selection from a large archive of recorded materials. All songs written and produced by Kate Crawford and Bo Daley.

A-Sim, born Simon Hamelin, is a fresh electronic music producer from France. His productions wind up somewhere between UK bass, electro and techno with a focus on the rivalry between the dark and sweet side of all textures coming from electronic instruments. He released stuffs on R&S, Eddy Larkin and Rawax.

Ghost of Skye glides between lost innocence and joyful tears. It shines like a blurring star, like the glowing glass of your last drink on a late night.
My Opinion (even if you don't care) is the rotating, meditative call to prayer pumped on detroit electro steroids. Take my hand and dive into oblivion.
Unpeaceful Mind re ects our apocalyptic erra. The neverstopping dark and anxious pressure of society. The need of relief. Of escape. Of freedom.

All tracks mastered by Pole at Scape Mastering in Berlin.

The new album from Danish electronic trio System is a special kind of collaborative effort with piano magician Nils Frahm. His purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer & Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and set out to translate their distinctive clicks 'n' cuts electronics into vivid soundscapes. Over two years in the making, the resulting nine tracks are as sonically intriguing as they are touching. Ranging from the mellow bliss of the title track to echoes of 90's and 2000's electronica and ambient sequences frequented by mesmerizing movements and sounds. The blending of piano and digital tones and noises into emotive pieces might instantly recall the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results.

Thomas Knak met Nils Frahm at one of his concerts in Copenhagen. They stayed in touch, exchanging thoughts and ideas. Two years later, Anders Remmer was also introduced to Nils. From then serious ideas for a collaboration formed. As Nils was a fan of System's self-titled debut album (released in 2002 via Pole's Scape label) their talks centred around Dub and minimalism, elements that constitute most of System's music as well as their side and solo projects. This in mind, System began producing sketches and brought them to Nils´ Durton Studio in Berlin in December 2015, where they recorded ten hours of him playing keys and effects to their drafts. Back in Copenhagen, they decided to change direction. - As Nils had told us about his fascination with our debut album, we tried to rediscover this minimal clicks 'n' cuts era. But hearing Nils playing to our rhythmic beds, we felt the need to scrap those beats and instead head in a more cinematic direction.'

So they started building new pieces from the Durton recordings, maintaining some of the minimal and static quality while new layers of synth sounds and noises created a richer and more organic quality compared to older System albums. The solo projects of Thomas (Opiate), Anders (Dub Tractor) and Jesper (Acustic) always relied on steady beats or rhythmic material, so the productions of 'Plus' with their focus on acoustic and melodic elements, ambient layers and cinematic moods, sees them pushing forward into new areas.

This way, the trio avoided copying what they had already done years ago, when they built a reputation as Denmark's prime originators within electronic music in the 90's and 2000's. 'Plus' is a triumphant example of collaborative experimentation and may be the dawn of a new era for System: - For us it was really satisfying to focus more on actual sound rather than rhythmic aspects. There is a lot of potential in this field, so it would only be natural for us to pursue this, maybe as a series of collaborations with other people who's music we admire.'

The first LP release for connected comes from Nandu and as with his previous EP releases the LP is a unique genre crossing palette containing elements from Deep House,House,AfroHouse,Electronic Techno and beyond brought together in Nandus' original style. Truly an LP that begs to be listened to from start to finish. In Nandus' own words: 'One mans high can truly be, another mans anxiety. In some parts of life this is very clear like having a baby, do drugs, to work, not to work, be an artist, be a banker and so it continues. Yin & Yang and the whole idea of duality is another way to describe this. When you go left you say goodbye to right - at least for the moment you choose left. What you choose is up to you. It wasn't always my dream to get up at 3pm to change diapers, but it was always my dream to have a family. And here the sacrifice is not even mentionable. It's more than worth it. But when you sometimes in life make a choice that you regret but which always will follow you, or when uncontrollable powers force you into another direction, it can easily switch the poles between high and low. In these cases you just have to look forward, but not without looking back. You need to learn, take it with you, and do better next time. This album is about how my highs also can be my anxieties."

The keeping of pets marks humans' attempt at taking possession of a part of reality that is not at his disposal. Dressing a piece of the real that lives according to entirely non-human rules and which only in the saddest case does not resist the discipline of the human symbolic order vehemently and in a sustained matter, is a violent act of protection. Because in the non-place of the real, all that which we are helpless in the face of looms: the non-logical and the nameless, the violence and the noise, yet also the unrestrained and unfiltered desire.The innocuous figure of the pet marks a gateway to an investigation of these eerie milieus, while electronic dance music lends itself to this investigation in an outstanding way. This constellation marks the subject of Column's 'Pets II.'

Column is the name of Cologne based renaissance man Jan Philipp Janzen, who, as chief emissary of Cologne's pop internationalism, has been playing the field in various functions for Von Spar, Cologne Tapes, Urlaub in Polen, Owen Pallett, Scout Niblett or The Field, and who has also, in one way or another, been involved in most relevant records coming out of Cologne for the past number of years. After his excellent solo debut 'Pets I' (Areal, 2016), Janzen presents another extraordinary record in 'Pets II,' perfectly complemented by another ghostly oil work of Burkhard Mönnich on the cover.Sonically, 'Pets II' marks a clear development for Column. In its exploration of the thresholds of the real, it sets two points of focus, corresponding with the split in sides A and B.

Side A, on which Janzen teams up with long-time friend myr. (PNN), explores the uncanny as a fissure of the symbolic order, and the subsequent breaking in of the real. It opens with two peaktime rockets that have their wooden, nether-regional groove narrated by grim, down-pitched vocals. The ethereal remix by Leibniz (hundert) seems to be observing the situation from a hiding place, and is the side's clandestine and no less dark closer.

Side B, for which Janzen invited studiomate Marvin Horsch (Dorfjungs/Beats in Space) along, delivers two swaying synthesizer workouts, the second of which, 'Molly and Swerve,' is directed firmly at the dancefloor again. What is at stake here is the transition between a free, undirected jouissance of the real and a more ordered becoming-lust. Here, as in Map.ache's (Kann/Giegling/Altin Village) remix which closes out 'Pets II,' it becomes clear what connections dance music can foster between a free, impersonal desire and the sphere of interpersonal wanting, but also the losses that are negotiated in it. Above all, however, it becomes evident what a courageous daring project 'Pets II' is in all of its conceptual and aesthetic determination; with Von Spar's standout 'Garzweiler' 12' (Altin Village & Mine, 2017), it documents a New Cologne Realism.

47016 is Killawatt's third solo EP on 47. The 12' vinyl and digital formats will be released on July 20th 2018.
A1 'Accupunk' thrashes and beats with complex rhythm programming. A2 'The Roamer' continues with high-velocity alien minimalism. B1 'Polar Polemic' slows the pace to heavy stepping with cyborg talk. And B2 'Glacia Systemic' decelerates even more so the voices and synth-lines are glaciers twisting in space.
Portsmouth, UK-based producer and DJ Killawatt released the solo EPs 47010 and 47012 in 2017, and featured on the label's first release 47001 with label head Tommy Four Seven.

Echocord sub-label Echo Echo continues this July with Orbite's 'Interstellar' EP, a threetracker from the Berlin- based producer. Orbite is a brand new project founded in Berlin, Germany with a nod towards the raw, dubby sounds often heard across the clubs in the city, and where better to inaugurate things than the recently launched sub-label of Copenhagen's Echocord, one of the leading imprints in the realms of Dub Techno, home to pioneering acts like Rod Modell/Deepchord, Pole and Fluxion who have paved the way for Orbite's own twist on the genre. The ethereal pad textures of 'Skylar' lead on the package, deftly evolving alongside bubbling synth tones, swelling chords and shuffled percussion to create a create dynamically unfolding six and a half minute cut. 'Moment' follows, edging things further into dubbed-out territories with heavily delayed dub echoes and mesmeric spoken word poetry intertwining to create a, hypnotic beatless soundscape. 'Organi' closes the record with emotive, billowing pads, warm bell like tones and vocal murmurs running alongside swinging shakers and stripped-back micro-house percussion.

Trux' Second Ep On Berlin Based Record Label Office Is A Bow To The Many Outstanding Moments In The History Of Ambient Music.
Allusions To Brian Eno Are Just As Recognisable As To The Charming Concepts Of Pop Ambient Or Clicks & Cuts.
It's Between These Poles That The Four Tracks On The A-side Oscillate And Manage To Capture The Listener
With Vibrant And Diverse Soundscapes. The Flip Side Sees Trux Drop A Stunning Melodic Breakbeat Tune Besides Remixes
By Workshop's Premier Techno Chef Lowtec As Well As A Freestyle Electronica Version By O$vmv$m. The Much Loved Super
Quiet Tops The Record Artwork Off With Another Remarkable Example
Of His Casual And Airy Black And White Photography.

Tachyon Audio is a vinyl label that's focused on sounds in the techno realm targeting sweaty, dark dance floors, with large, high-quality sound systems.

Inhabitants come back strong in Mutations Volume II, Tachyon Audio's second offering. These two primates are often found inhabiting dark spaces, forging ahead on complex math equations. Their distinct, driving, mathematical, and drumming techno is a result. Expect more solid work and performances from these two mysterious beings on Tachyon Audio as the label continues its progression.

Tachyon Audio's second release follows a similar format to the first, in that, TAC002 is a diverse EP that touches on techno sounds that are helping to lead the march forward into the future of sound production and style. The second Tachyon Audio release also comes from the mysterious dark studio of Inhabitants, who build off their first, and display their precise, technical forms of production.

The A-side track, Mut11 (A1) is a sci-fi exploration that pleases the ear with thick sub and low basses, along with a pitch-twisted melodic element, and the Inhabitants distinct sound effects and automation. The track has a strong impact immediately, as you can feel the intensity of elements being added, manipulated, and combined, and a sturdy, grimy feel pervades the piece with an interesting driving rhythmic percussion.


Side A ends with two separate open-source NASA samples. The first, Sounds of Enceladus - Radar Echoes from Titan's Surface (A2), is a locked groove and according to NASA, 'was produced by converting into audible sounds some of the radar echoes received by Huygens during the last few kilometers of its descent onto Saturn's moon, Titan. As the probe approaches the ground, both the pitch and intensity increase. Scientists will use intensity of the echoes to speculate about the nature of the surface.'


The second sample, Cassini - Saturn Radio Emissions #2 (A3), is another locked groove. The sound as described by NASA, 'Saturn is a source of intense radio emissions, which were monitored by our Cassini spacecraft. The radio waves are closely related to the auroras near the poles of the planet. These auroras are similar to Earth's northern and southern lights. This is an audio file of radio emissions from Saturn.' These samples are poised for reuse in production and make for good intro and looping material during performances.


The second side of the EP starts with Mut1 (B1), a track that is well-rounded percussively, with a strong kick drum driving the track forward. A simple looping and effected tom drum also helps keep a good movement to the track. An ominously melodic pad that evolves subtly throughout the track helps to keep the Inhabitants err present throughout the track.


Mut8 (B2), is another acidic venture with solid percussion. The looping and other melodic elements provide a solid stricture, with the more adventurous sounds being placed and effected incrementally with distinct Inhabitants flare throughout the track.

Born in Munich, Sebastian Schnitzenbaumer aka BELP partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, became the basis for his musical development. Having travelled extensively with a closer connection to London over the years, BELP kept his base in Munich, becoming part of a small alternative scene questioning the predominantly rich and posh surface of the city. Blending jazz, dub and noise, an emphasis on darkness in his broken beat oriented works evolved as a reaction to a rather hedonistic society preferring warm and uplifting sounds.

The remarkable thing about BELP's new album is its two-dimensional function. It works both on a loud and a quiet volume. Some tracks would go down well as a club track, like opener 'Travelling Thru Galaxies'. This track brings back memories of the best work released on the Hyperdub label, with it's fine combination of synths and irresistible, dubby beats. Elsewhere, 'Off Ending' might start off as 'dancehall-but-not-quite dancehall' track but when half way the synths kick in they change the feeling of the track to a more cerebral level.

BELP is the artist name of Sebastian Schnitzenbaumer. Born in Munich, he partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, form the basis for his musical development. Currently he has close ties to the (dub) Sausage Studio in Hackney, London. In his hometown Munich, the Bavarian capital, BELP took a central role in a series of discussions and events aiming to improve the image and possibilities of Munich, which to his regret is a predominantly posh and hedonistic city where optimistic and uplifting music take central role.

In different guises Schnitzenbaumer works as a much needed antidote. Since 2013 he runs the Schamoni label, focusing on supporting local artists like Leroy and Protein. Its sublabel Jahmoni is responsible for recent works by international artists like Aaron Spectre and DJ Marcelle/Another Nice Mess.

BELP's music is dark, serious and layered. His love for dub and dancehall shines through in his broken beats. At the same time the synth layered tracks give the album an atmospheric feeling.

This also is what makes this album essential: it's refusal to be pigeonholed. The last track on side A, 'By Beauteous Softness', is an a cappella rendition of a 17th century Henry Purcell piece, beautifully sung by Alexander Schneider. This track is preceded by 'Transmission', which is a brilliant abstract work, sounding like wind closing on you from all sides. And you can sip a cocktail whilst listening to the jazzy 'Time And Again' (BELP once worked as a jazz pianist).

It's clear to hear BELP took a long time recording this album. Every note, synth, drum beat, is carefully placed. But what the album might lack on spontaneity it more than compensates this with its sheer musical beauty. This also reflects on the abstract sleeve, like 'Elephants' designed by BELP himself.

Enjoy this album on big speakers, as background music or simply on headphones. There will always be new sounds and layers to be discovered!

2x12"

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

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

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

A native of the Caribbean coast of Colombia, Abelardo Carbono achieved legendary status in his country's storied ranks of musical icons by combining the homegrown sounds of cumbia with the chiming guitars of West African soukous, enormously popular with the local tropical sound systems, and drenching the whole thing in his off-kilter, surreal and slightly psychedelic sensibility.

With the exception of a well-received compilation of songs from his 1980s heyday, Carbono has been rarely heard from outside the sweaty dancehalls he still commands in his hometown of Barranquilla. Now, Names You Can Trust has welcomed the reclusive guitarist and singer back to the vinyl format with a simmering Afro-Carib beast of a cut, recorded with the assistance of Will "Quantic" Holland on rhythm guitar and Mario Galeano (Frente Cumbiero, Ondatropica) on keys and in conjunction with Lucas SIlva of Palenque Records & Polen Records. It's a true cross-generational and international collaboration that is uniquely possible via Colombia. The first release of this expansive & power packed studio session is a cover of vallenato pioneer Guillermo Buitrago's La Piña Madura. This updated take veers heavily towards Africa on a rock solid foundation of bass and drums, with Abelardo's trademark guitar and quirky vocals leading the way.

Der aus Oxford (UK) stammende Emseatee ist ein wenig besonders. Wie ein Forscher, in einem versteckten Labor, beginnt er mit der aufziehenden Nacht, Atmosphären, Stile und Rhythmen zu kombinieren. Er ist immer auf der Suche nach einer neuen Formel und bindet auch natürliche Sounds in seinen organischen Mix. Emseatees Experimente brauchen Zeit und gehen zurück auf den 21.06.2014. An diesem Tag bekam er Besuch von Minerva und zusammen legten sie den Grundstein für dieses Release. Die Veröffentlichung via Modularfield erfolgt am 27. April als 12'' weißes Vinyl und Digital.

The mysterious Scaarlet is back with a vapourous EP lurking into light and darkness.
Not Good opens the A side with a desperate electronica mood. Feel the tension until drums propel you into apocalypse.
Ùm pushes you slowly toward the dancefloor. Syncopated breakbeats, cut up grooves and a wavy bassline thrive you to embrace the cinematic ambiance.
Essai Nouvo is not just a deep atmospheric broken techno sound. It's an awaited glide into nothingness.
All tracks mastered by Pole at Scape Mastering in Berlin.

A double album of dirty, raw, bone-grinding Techno from post apocalyptic survival times by Franziska Lantz released on Global Warming Records, London 2017 Loaded with heavy distortion, fat textures, harsh beats, relentless rhythms, moody synths and erratic melodies, this sound is bursting with rawness and urgency. Harness your speakers and dance!