Поиск:pro tech

Banger techno from brittany !

Recorded in a string of sessions between Curve Pusher’s former Darnley Road location in London and new facility in UK seaside town Hastings, ​Old Tight Selektah​ sees Radioactive Man and Ben Pest (OverworX) riff off their shared passions for studio hardware and live set jams, maintaining the funk at all times.

Lead track ​Old Tight​ works in ​recorded licks from the Pest band’s horn section - Off-Key He-Man. Bar Tab smooths out into a glimmering and acid licked electro number. ​You Bring It, We’ll Wing It​ enjoys more of the Pest brass service, slowing the pace to a dubby, broken beat tempo. Finishing up the EP ​Bracetings​ is a jumpy, up tempo finish to the release showing off both producer’s flair for high precision beat programming.

Ben Pest is a hardware-made-techno specialist based in Bristol. He runs his own label OverworX and has also released his heady raucous sound on ​Varvet, Don’t and I Love Acid.

Asking For Trouble est. 2017
Mastered and cut by Keith Tenniswood at Curve Pushe

Transversales Disques is very glad to announce the release of the never released before piece Un Monde Lacéré by electroacoustic music pioneer Pierre Henry. This piece is a special tribute to Jacques Villeglé and his work. It is the world opening performance of this
opus, recorded in studio Son/Ré. Pierre Henry was born in 1927 In Paris. He started studying music as early as the age of seven. In 1944, guided by Olivier Messiaen, he imagined and started composing music for the future. His meeting with Pierre Schaeffer was crucial for his creation. Inventing new technical composition processes which in time have become widely used on a large scale, he has constantly given this music a far reaching power no one expected at the start. He
has also invented his own sound, as easily distinguishable as the sound of the most famous jazz musician.

Limited edition cloudy clear vinyl. Combining processed recordings of wind and water with analog synthesizers and chamber orchestra, Elori Kramer's The Blue of Distance is an audio dissertation on the role technology plays in our relationships to geography and nature, unspooling into an examination of memory and longing across seven sections that layer filmic minimalism over churning electronic soundbeds. Half of the suite was written in the Adirondack mountains during summer amid lakes, rivers, and moss-laden forest floors, while the other half was conceived on a frozen Lake Superior island in deep winter, creating a subtextual dialogue between the two extreme settings. Kramer, who was born in 1990 and grew up alongside the internet, uses her music to explore nature in the actual and the virtual world, through direct experience and facsimile alike, focussing and blurring the line between the two. "Looking back at my videos of that summer-- which is where the processed audio came from-- I tried to remember what it had felt like to be there," she recalls, "thinking about questions of reality versus imagination; physical versus digital; and the ways in which memory shifts through our minds and technology." The title The Blue of Distance was derived from Rebecca Solnit's book A Field Guide to Getting Lost, referring to the phenomenon of faraway mountains appearing blue due to light particles getting lost over distance. "If we were to go up to the mountains that appear blue from far away, we would see that they weren't actually that color." she says. "This beauty is made possible because of their distance," much in the same way that the splendor of a lush season is only fully realized in the throes of a bleak one, and the joy of an event can only be felt when it has long since been consigned to remembrance. R.I.Y.L Kaitlyn Aurelia Smith, Philip Glass, Steve Reich, Josiah Steinbrick, Emily Sprague

In a time where everyone from Whitney Houston to Frank Zappa have been re-created in hologram form, where Grimes recently suggested in an interview that “we were at the end of human art”; there could scarcely be a better time for genre-shifting Leeds-based six-piece Team Picture to bring forth the thrillingly expansive synth-pop opus of their debut album The Menace of Mechanical Music.

Inspired by an early 20th century essay under the same name by American marching band leader John Philip Sousa, Team Picture take a look at the automation of creativity on this, their first record with a fully settled line up. Themes centre around the value of creative identity in an automated age, the increasingly disposable nature of art and where that leaves its creators. At twelve songs split into a three-part suite; The Menace of Mechanical Music is emphatically maximalist.

Tracks like the breathy, twinkling Flowerpots, Electric Beds and Handsome Machines’ Icarus-like striving for the sun are an antidote to a music world awash with digital production manipulation and songs written to algorithm. In debating the loosening of the human grip on creativity, Team Picture have poured every last drop of emotion into the recording process.

The group’s now trademark three-way vocal delivery and blurring of textures takes on new structure and purpose. They’ve always had a self-awareness to themselves, too. Initially grouped in with the guitar psych crowd, thanks to their fledgling repeato-rock, they were quick to disassociate themselves from that on 2018's mini-album Recital. With The Menace of Mechanical Music, they expand their sound further still, pirouetting from the likes of Sleeptype Auction – which glimmers like a late 80’s 4AD artefact – through various FX-laden dreamscapes, to the squelchy post-punk of closer Quit Reading. Yet the group were as much influenced by the work of the Early Netherlandish painter Hieronymus Bosch, and his triptych The Garden of Earthly Delights, as they were music touchstones ranging from Kate Bush, Cass McCombs and The Cure.

It’s Sousa words that resonate most deeply within the record however: “The fears of Sousa echo the fears of today's musician,” says Lewis of the late band leader’s 1907 text. “The re-appropriation of funds and support that the artist needs to survive, the gradual erosion of musicianship and self-improvement, that art will become disposable, and that our cultural identity will disappear.”

Recorded with producer Matt Peel (W.H Lung, Eagulls), half the group were unemployed during the session and a daily routine would see them undertake universal credit meetings and job interviews in the morning, before heading to the studio to work into the night. “It was an anxious process but an enjoyable one” says the band’s guitarist Josh Lewis. Indeed, beyond the increasingly golden gated idea of ‘making it’ as an artist, this new album is simply about surviving as one.
Sousa’s vision of a society that had deferred to automation, where babies were rocked to sleep by wheels and pulleys, and people no longer played piano with their own hands. Well over 100 years later and on the precipice of a technological shift never seen before, The Menace of Mechanical Music is the most human response that Team Picture could have given.

The Master Scratch Band was first break-dance / hip-hop / electro funk band in Yugoslavia in 1984. The band members were Zoran Vracevic, Zoran Jevtic and Milutin Stoisiljevic, previously known as Data and Sizike. Jugoton, the biggest label in Yugoslavia, published Data 7'' and MSB's 'Degout' 12'' with limited edition cassette containing two bonus tracks. Impossible to find on the collectors market, Fox & His Friends team in collaboration with Jugoton / Croatia Records is releasing a full, complete version of the rare "The Breakwar" tape, with tracks "Tonight" and "Pocket" never pressed on vinyl. All tracks are sourced from original studio tapes. With the kind help of Zoran Vracevic on credit list and liner notes, this is now the ultimate Master Scratch Band album, released originally in a year 1984 when break-dance was in the peak of its popularity in Yugoslavia. While Data was synthpop, Sizike mellow synth-disco recorded in private studio, this release is pure breaks and hip-hop electro, done old-school way in one of the best studios in Yugoslavia, Enco Lesic's 'Druga maca' in Belgrade. MSB used impressive electronic gear and were helped by huge list of famous musicians and guests: Duca Markovic from hit-show 'Hit meseca' (Yugoslavian Top Of The Pops); Japanac on bass, Max Vincent of Max & Intro on synths, Dudu Vudu from Du-Du-A, Goranka Matic as photographer and many more. MSB sampling technique and choices are unique: from obscure industrial records to freestyle; from found-sounds to cut-up breaks and even real prank-calls. This is document of time that still sounds fresh and needs to find it's new, young audience of hip-hop history researchers, break-dancers, b-boys, b-girls and DJ's. When you know that it's produced in 1984 Yugoslavia, far away, but actually, so close to its USA & EU brothers and sisters, it's even more mind-boggling. Thanks to Fox & His Friends and Jugoton CR collaboration, this gem is waiting for your freezes, footwork and electric boogie moves. ----- Equipment used: Commodore 64 Computer, Roland MC-4B Microcomposer, Prophet Pro-One, RSF Cobol II Expander, Korg Mono-Poly Synthesizer, PPG Wave 2.3 Synthesizer, PPG Waveterm Computer, Boss DE-200 Digital Delay, Drumtraks Digital Drum Machine, Roland TR-808 Rhythm Composer, Electro Harmonix Vocoder, Linn Drum MKII, Juno 60, SH-101, SVC-350, VP-330 Vocoders, Polysix & MS10, Simmons drum module.

Erell Ranson confidently displays his renowned character of finely textured Electronics with old school aesthetics on Propersound 007.

Electro, Deep Techno, and Downtempo are the styles traversed to you from the machines with emotive class, and ambient pads across 4 lovely tracks.

Red Marbled Vinyl

WEBUILDMACHINES presents “Machines of Deliverance”, a limited edition various artist LP celebrating 50 releases of evolutionary, multi-layered, experimental electronic music and contemporary techno. Offering an expansive stylistic palette from around the world, the artists presented embrace the ethos of the label’s past, present, and future with eight tracks of cinematic, industrial-themed, techno. Suited for the dance floor and repeated listening, with meticulously crafted sound design and precision programming throughout, this release is a unique and inspired addition to the WEBUILDMACHINES catalog. A Side: Headless Horseman (Berlin, DE) – Shift in Time Tunnel (Minneapolis, US) – Everything is Changing Opus Daemonii (Chicago, US) – Quantum Rift Axkan (Los Angeles, US) – Empty B Side: SKD (Riga, LV) – Hellbound in Paradise Sramaana (Lyon, FR) – Sicmundus C-KAY (Tokyo, JP) – Time to Crumble Soseol (Seoul, KR) – Volnost (DIGI ONLY) Faceless (Shanghai, CN) – Four Over Three Linbo (Shanghai, CN) – Falsity Became Our Sport Mastered by Gio at Artefacts Mastering / Berlin Artwork by R. Miller

Early summer 2019, João Lobo started recording his compositions at les Ateliers Claus in Brussels, with guitarist Norberto Lobo, bassist Soet Kempeneer and recording engineer Christophe Albertijn. The recording sessions were planned over the course of one week, however the job was mostly done in just a few takes. With the addition of some overdubs, the whole process was finalised in a spontaneous wave. It is too simplistic to define Joao Lobo’s compositions with one term, and the association of the album “Simorgh” with this ingenious partnership’s new creations, is inevitable.

While the mix of genres and styles may be easy to distinguish, the focus centres on the result of the mixing: a highly grooving and an occasionally paused and introspective music that seems out of time and out of space. It is difficult to grasp or define a specific period in time or a geographic origin in this fusion of references, as what you listen to is a bold creation of original and surprising elements. Drummers – such as João Lobo – employ a multi-layered concept in their music, weaving the different tracks into a linear wash of sound. He plays the song with the drum set while the other members fly in and out of the compositions, always gathering around their phoenix in order to attain enlightenment.

What João Lobo and many of his contemporaries are up to, can be explained through simple terms as a future exploration of the emotionally expressive possibilities of sound. It breaks away from the conventional order providing space for the discovery of a new order. Simultaneously it allows a more profound and broader expression of what the current reality of music is and represents. It was instantly clear for me that we had to share his music with our audience and create this medium for happiness.

This release is the trio’s debut record, which is the impetus for their personal development in the realisation that features João as a mentor in the creation process. The featured compositions highlight the musicians’ unique physical aspect to control their instruments and their hidden techniques that underlying these tracks. The result is an ongoing aural interplay. It was love at first sound.

This album is a co-release between Les Albums Claus and Shhpuma.

fter a small digital break, here is new record from the Comic Sans' vaults. First world appearance for Low Khey with 10 tracks exploring the 90-100 bpm side of experimental bass music. Call it mutant dancehall, deconstructed dub or industrial riddims, it's difficult to describe precisely in which genre the release falls.

Let's just imagine that Vybz Cartels' beats met Adrian Sherwood's punk dub sound design and that the whole thing was supervised by the evil twin of DJ Python. The big space left to the drums and the precise use of robotic sound-effects give a hyper-mechanical aspect to the riddim tracks which are aired by several interludes made of weird FX making it sound like futuristic commercials for spaceships or intergalactic bitcoin exchange.

The whole project has hidden references to artificial intelligence and problems that human are facing regarding the technology. The world in wich Low Khey lives is dominated by machines, and mankind is having a rough time to say the least! But there is hope for our Homo Sapien friend... If only he kept in mind this simple advice : Never. Trust. A. Cyborg.

Following the stellar trip through Woo’s Arcturian Corridor , Quindi Records continues to explore intimate, inviting sounds with an experimental bent by facilitating the return of overlooked Italian duo Cabaret du Ciel.
Initially formed in 1986, Cabaret du Ciel’s debut album Skies In The Mirror was a low-key and extremely rare cassette release of spellbinding electro-acoustic ambient music created by Gian Luigi Morosin and Andrea Desiderà. A reissue on Hybride Sentimento in 2018 brought renewed attention to the startling music contained within this unique project.
The Breath Of Infinity is an album comprised of new works recorded over the past year, either as new pieces or reworked from old ideas with the assistance of Giorgio Ricci. Morosin and Desiderà’s natural instincts as multi-instrumentalists shine through across the record as they did on Skies in the Mirror , although these tracks were in fact composed as raw live takes using electronic workstations (with a little additional fretless bass provided by a close friend Giampaolo Diacci on “Different Suns” and “Climatic Variations”).
There is a crisp, digital timbre to the worlds Cabaret du Ciel shape out on The Breath Of Infinity – utopian pastureswith an air of optimism similarly expressed in the first waves of ambient electronica. Folk traditions exert a guiding influence on the sparkling, ethereal melodies and full-frequency harmonisation, but this is music enamoured with timeless plateaus rather than hackneyed interpretations of the past, present or future.
It’s also an album of variety. “Different Suns” tumbles with a pastoral, elemental earthiness thanks to the interwoven rhythmic murmuring of percussion and live bass, while “Lakota” pivots in sharply rendered bio-mechanical formations.
There’s a widescreen bombast to “Theatre Azure” which calls to mind mid-90s US electronica, while “Meredith” reclines in a blissful bath of plush 80s FM synthesis. “Sunset Parade March” has a distinct sense of propulsion thanks to its overdriven, broken techno rhythm and “Highlands” skips with an infectious energy despite not using any formal
kind of percussion, but even in these more kinetic moments a preference for mellow musicality maintains the dreamlike mood.
Consider The Breath of Infinity like an archipelago, where each track functions as its own distinct island of ideas while being intrinsically interconnected to the others. In a similar fashion to acts such as Ultramarine (who appeared as remixers on Quindi 001), Cabaret du Ciel emphasise the musicality in their electronic music, shaping out an
evocative, imaginative environment to idly glide through or attentively explore.

Repress

While our precious scene is going through high restrictions, Marco Bailey who fights for the techno scene since dot one of techno history, strikes back to MATERIA with his new EP "Fight For The Oppressed" featuring 4 high-octane modular analog productions. Currently limited for public expression but fueled with time, space and his usual never-ending motivation, MATERIA's main man keeps giving the one message we all should never stop sharing; techno is a way of life, techno never ends.

Collabs between Dominik Marz and Yannick Labbé have been dropping regularly since months now. The guys’ associative approach to techno is a quirky mix of grit and grace that aims for greatness. Their new release on Feines Tier is no exception: the three tracks are an invitation to lose oneself in textures, sounds, melodies – all wrapped up in loop-based arrangements. As a bonus, DC Salas delivers a remix that injects a proper dose of techno and turns the track „meaning“ into a peaktime rocker that, well, how should we put it… bangs. A lot. Try it out on your COVID home-dancefloor!

Jorge Caiado’s new “Cycles” EP, offers 3 strong versions of title theme plus a remix by Detroit legend
Mike Huckaby. A house/techno manifesto that takes his artistic vision one step further, placing him as
a cutting edge producer internationally supported by the likes of Move D and others.

From Lisbon via Detroit, “Cycles” will make any worldwide dancefloor take a peak. So grab it, play it
and check the results. Limited repress.


Stephan Bazbaz heads to LOCUS to deliver his Voyage EP, backed by a remix Casey Spillman.

An artist at the heart of Tel Aviv’s blossoming house and techno scene, Stephan Bazbaz continues to showcase his skills as one of the city’s leading lights within electronic music. With releases and remixes via the likes of Djebali, hedZup and INFUSE in 2020 alone, he now closes out a fruitful twelve months with an impressive label debut via FUSE imprint LOCUS to deliver three fresh cuts in the form of his ‘Voyage EP’ – whilst INFUSE regular and LOCUS alumni Casey Spillman makes a swift return to step up on remix duties.

A low-slung and moody effort from the off, opening cut ‘300’ combines swinging percussion and icy hats whilst escalating synths and rumbling sub-bass take hold and transport the production firmly into the peak hours – unsurprisingly featuring as a stand-out track within Enzo’s sets over the past 12 months. Next up, ‘Key To Success’ offers up a groove-heavy roller, with tracky drums guiding off-kilter samples and rich piano flourishes throughout, whilst Casey Spillman’s interpretation ups the energy levels as he works punchy kicks, warping synths and menacing low-end tones to turn in a bustling remix. To close, ‘The Life’ showcases yet another side of Bazbaz’s vast production skills, opting for hazy synths and dreamy chords to round out proceedings in impressive fashion.

Black Vinyl

Docile Recordings continues with part two of a five cat series. Docile #29, the pepper ep, was produced, arranged, and crafted on vinyl by Andy Garcia at Archer Record Press in Detroit Michigan U.S.A.. Docile Recordings believes vinyl is the best medium to convey our message. Our message is our sound, a sound that is unique in its’ path and loyal to its’ character. Our mission is redefinition and the redirection of minimal techno.

Side A starts with an ol’ timey 4/4 tec- spiritual of crunch confusion rocking and clapping faithfully until the rapture of synth begets a righteous clarity of beat. A2 is a calm to topsy-turvy scurry through digital tweaks and stutters that form a havoc funk requiring a reprimand. B1 opens with the ringing energy of a pest highly motivated to infect a sickly synth, glitching yip, and rolling cymbal into the bloodstream of a dirty grind. B2 is a gentle vibe that is simple, clean, and fresh as a cool breeze that carries the rhythms of birds speaking in tandem.

Limited Gold Vinyl Pressing!
Out of the ashes of Raceway Recordings and Racetrax, rises the new label from Sterling Moss - Rebeltek. With well over 100 tracks out on vinyl, Sterling decided it was time to start his own 12inch project again, so 2014 sees rise to the Rebeltek Alliance - an infusion of stomping 303 inspired Techno beats, soon to hit the streets.

Having played in every continent on earth and with releases on over 50 different record labels, Sterling is using his vast musical knowledge gained through his travels and productions to harness an energy for Rebeltek that is both unique and compelling, whilst retaining an counter-culture attitude direct from London town that will drive the label forward.

The debut track 'Don't Fuck Around' has been road tested at the massive UK Techno event 'London Underground United' and subsequently received extremely positive attention. This special first release will be available on limited edition gold vinyl and will be sure to be a collector's item for years to come.

REBELS FOR LIFE

We’re thrilled to have another legend of the underground on O.C.D. : Alex Martin.

A very well respected mainstay in the Spanish Techno scene, Alex’s career spans 3 decades under different production aliases and releases on seminal labels like F-Com, Klang Elektronik, PIAS, Cosmos Records, Minifunk, Boozoo, Pagoda Recordings, many of which are now sought-after collectors material.

Alex is a very good friend of the label since long and a while ago he shared with us his DAT archives filled with unreleased material from the early years of his career. It took us a while, but we are now ready to give him the rightly deserved space on our Secret Sun series.

This is the first volume of a collection of never heard before music from Alex Martin under some of his several aliases, retrieved from the vaults to be finally made available to the world.

500 COPY LIMITED EDITION ~ INCLUDES 4 INDIVIDUAL FULL SIZE ARTWORK INSERTS. Hyperdub are excited to present our first soundtrack release, Lawrence Lek's score for his debut feature film `AIDOL', which premiered at Sadie Coles HQ in 2019 and has been shown at numerous virtual and physical festivals and exhibitions worldwide. Lawrence Lek is a simulation artist who uses computer-generated animation and video game engines to create films and virtual worlds that play with the language of science fiction, music videos and corporate world building. He has released soundtracks to five of his previous projects, most recently `Temple' OST (Vinyl Factory, 2020). `AIDOL' continues his on-going 'Sinofuturist' cinematic universe, which posits the creative theory that China's technological rise is an emergent form of Artificial Intelligence. `AIDOL' is a CGI fantasy that tells the story of a fading superstar, Diva, who enlists an aspiring AI songwriter to mount a comeback performance at the 2065 eSports Olympic finale. Set in a realm of spectacular architecture, sentient drones and snow-deluged jungles, `AIDOL' revolves around the long and evolving struggle between humanity and Artificial Intelligence; a shifting and seductive virtual reality, punctuated by Diva's songs and the voice of Kode9 as the unforgiving label boss. The soundtrack is a delicate lattice - complex, opaque and entirely synthetic. Diva's yearning vocals - created with a Vocaloid voice synthesiser, sung in English and Mandarin - cast classical melodies over billowing, intricate arrangements. The instrumental tracks, produced with composer Seth Scott, are elegiac and beautiful, hybridising the film score archetype, folding in patterns from game soundtracks, vaporwave, and ambient fourth world music.

Klinika003 - The Silver Lining EP - is coming soon, and will be delivered by Frankfurt-based techno head Cloak.
Cloak is very well known for his party series Void and Rebis and managing a small cafe bar in Frankfurt's redlight district.
After his first release in 2015 on Anselm's Unequal Records, where his style was a lot more broken beat-oriented, he's now coming over with definitely faster, metallic driven and more four-on-the-floor rooted beats and dithers in between industrial and classic techno. All tracks are an ode to analog production gear and non-compromising dance floor-oriented!.
Enjoy

Remixes from Aube-Joie 01 . Pressed 100 copies with printed sleeve.

Ep starts with a Doom-like tune turning psychede
Second remix from gruiiik brings a breakcore amen-breakless banger. Brutalistic !
The flip opens with a OlgaZzz superb hardcore remix. Minimal and progressive... twisting and pityless !!! Brillant ! My fave on this EP.
14Anger finishes the job with a loud indutrial techno remix !! Hell time !

Smoove & Turrell have never been scared of a gamble or two and over the course of their career, and their latest album - 'Stratos Bleu' marked some of the biggest stylistic changes to date. Though long lauded as one of the UK's top bands in funk and soul circles, their album was a decidedly rawer analogue affair drawing on influences as diverse as Detroit techno, Bristol bass as well as the party starting breakbeat funk they are so well known for.
Hitting #1 position in the Official UK Dance Charts on release week and grabbing the Album of the Day accolade from BBC 6 Music proved the band were entirely right. Given the strength of the source material it was only right to issue a remixes album on the project and there was no shortage of producers lining up to get involved.

Dance luminaries including Ray Mang, Ashley Beedle, Steve Cobby and Fouk all signed on immediately. So it, made sense to put together their fine interpretations on a disco house focused vinyl. This 4-track ep also includes the outstanding acid house rework of the band's album favorite 'E.P.' by newcomers Rayka.

Dark Green Marbled Vinyl

One town, three times of the day, a triarchy of Techno music, rolling into the deep – coming as green marbled vinyl with an exclusively designed festival wristband!
Rico Puestel rears a monument to his growing-up-town „Uslar“ with three different approaches on this second part of the home-loving „Solling“ series that dig deep into a downscaled and natural framework of sound (all recorded and produced right at that place).

The initiation ritual on A1 with Uslar at 6'23 in the morning starts off with an actual electric guitar theme, originally recorded back in 2003, that builds the foundation hub to one crisp and point-blank Techno-Electro ceremony. The clean minimalistic sound will showcase all the details of any structure within while one's certainly getting caught by the overall force of melodic attraction like the sun working its path through the misty valleys.

At 13'35 noon, a rising rhythmical and progressive interpretation of the initial morning sounds makes an appearance on the flipside that doesn't allow much time to leap right into the centre of the da(y)nce, immediately creating the guesswork where side AA is leading all along.
The evening hours at 21'55 then take a flying leap into the mystical peak of the whole process, taking the morning sounds from side A into some uneasy realms and sceneries, prevailed by an almost voodoo-like momentum and a dance into the depths of its surrounding woods that will coherently dignify 90's loop Techno par excellence.

This fourth record on Exhibition is and feels right here and right now, paying tribute to the past and many different streams of Techno while cherishing a future that has yet to be written, celebrating the

"I have been in love with the Detroit sound of techno since forever, so when I discovered Subradeon, I was immediately struck by the soul and energy of their music. I have been lucky enough to get to know Giuseppe and Salvatore over the last year and so it was always a dream for me to have them release a record together on Sous. Now this is happening, I couldn't be more excited. They have made three spectacularly good tracks that I know will last forever in my heart, and hopefully in yours too" opens Anja.
Sous has been drip feeding us top line releases all year long, despite the world coming to a standstill, Anja believes that continuing to release music is important to keep spirits high. She has been showcasing some of the newer talent from around the globe alongside some household names including Marcus Suckut, Fort Romeau and Mella Dee to the last release from Italian duo Reform.
October brings Subradeon. Hailed as the new school of the techno scene, they might have grown up in the Neapolitan underground scene, but their sound has become a melting pot of influences from their current home town of Berlin and the duo's self- confessed spiritual home of Detroit.
Giuseppe Salone and Salvatore Lannotta deliver their debut release 'Breaking Down Borders' on Sous, compromising of their characteristic raw soul, profound meaning and energetic purpose. This package includes a remix from Techno pioneer Stephen Brown (Djax Records, Transmat, Music Man).

One of Detroit Techno’s founding father and legendary DJ/Producer arrives to Shift Imprint for the 7th cut of the label with Plant 19 EP, a subversive two tracker record only available on 12”.
Enjoy…

Memento’s label honcho Idriss D is back at the production duties with
a mesmerising super single featuring a shattering remix by the
Norwegian infamous wonder known as Dj Sotofett.
“Lunatic” symbolises Idriss D natural inclination for an incessant
sonic exploration, which on this esoteric cur, has brought him to the
darkest and the most hectic jungle territories; drawing from the early
nineties British tradition but with a long sight into the contemporary
climate, these heavy rattling beats and scattered vocals will simply
leave you speechless.
On the flip side , Dj Sotofett is just condensed cutting edge music
technology wisdom; the straight deep beat and the charming arpeggios transform the original mayhem into a late night anthem.
The splendid picture on the release cover has been taken by Ismail
Zaidy of L4artiste, which is also responsible for the astonishing
video teaser, while the artwork has been as usual an graphic affair of Boogie.

Light Blue Marbled Vinyl
Memento’s label honcho Idriss D is back at the production duties with
a mesmerising super single featuring a shattering remix by the
Norwegian infamous wonder known as Dj Sotofett.
“Lunatic” symbolises Idriss D natural inclination for an incessant
sonic exploration, which on this esoteric cur, has brought him to the
darkest and the most hectic jungle territories; drawing from the early
nineties British tradition but with a long sight into the contemporary
climate, these heavy rattling beats and scattered vocals will simply
leave you speechless.
On the flip side , Dj Sotofett is just condensed cutting edge music
technology wisdom; the straight deep beat and the charming arpeggios transform the original mayhem into a late night anthem.
The splendid picture on the release cover has been taken by Ismail
Zaidy of L4artiste, which is also responsible for the astonishing
video teaser, while the artwork has been as usual an graphic affair of Boogie.

Denovali presents the first cooperation album of the Italian composer, arranger, producer and guitarist ERALDO BERNOCCHI with the Berlin-based Japanese violinist, composer, electronic producer and TANGERINE DREAM member HOSHIKO YAMANE.

Born in Osaka, Hoshiko Yamane attended the University of Arts in Aichi. Her training destined her to be a violinist in classical music - later on she extended her practice to modern and pop music. In 2011 she joined the legendary band Tangerine Dream. In 2014 she started to release her first solo works.

During his long lasting career in several musical fields and genres London-based Eraldo Bernocchi worked with artists like Nils Petter Molvaer, Harold Budd, Thomas Fehlmann, Bill Laswell, Colin Edwin, Mark Stockhausen, Mick Harris or Robin Guthrie.

The first collaboration of both artists called "Mujo" combines traditional classical music with innovative electronic production techniques. The result is a coherent album that combines eight pieces to a timeless soundscape. The artwork of "Mujo" was arranged by the renowned media artist Petulia Mattioli.

Philipp Gorbachev presents his latest 5-track EP "Nichego Ne Ponyal" on System 108. Philipp Gorbachev is amongst Moscow's most renowned dance music artists. The musician, DJ, and live performer is also known as the resident of MUTABOR, a member of ARMA17 and the System 108 community. His previous releases on Comeme, Trip, ARMA, and his own PG TUNE label contribute to a big variety of music genres: full live bands, church bell music, and techno. The new EP, which translates to 'I understood nothing' is an ode to isolation, where one's personal state of solitude simultaneously clashed with a global pandemic lockdown. The record was produced in the process of a fleeting stream of thought, and rather than relying on the use of automatization and the digital, it consists of recorded instruments. Drum machines, live drums, drum pads, keyboards, accompanied by bewildering vocals - all create an enticing audio tale that embodies the ethereal state of today's existence. Whilst being confined in the new secluded and virtual reality of the world, the artwork was devised via Facetime by photographer Nick Gavrilov, and just like the EP, it depicts the act of creation as such; Gorbachev's kitchen transformed into a temporary art studio where the interchange of imagination roamed free. The 'Nichego Ne Ponyal' EP is a result of Philipp Gorbachev's collaboration with System 108 and is the 3rd vinyl release of the creative platform, which is recognized for delivering outstanding events in Moscow's electronic music scene.

2023 Restock

Within the elusive confines of this film awaits an unreleased album that defies categorisation by a musician who in a different time and space would be revered amongst some of the most important exponents of progressive rock, dark ambient, Krautrock and pioneering synthesiser composition - not to mention sound design and art-house film scores. As a protégé of François Bayle and Luc Ferrari who had studied classical music before immersing himself in found-sound manipulation and oscillators, Alain Pierre quickly became an enthusiastic go-to man for sound sculpture and technical studio proficiency in Belgium’s small film industry.

To the many generations of dedicated fans of the visual work of Philippe Druillet it might seem virtually impossible to adequately “score” the alien, futurist landscapes of the man who many called the “space architect” (on account of his space age reductions of Gothic cathedrals, Art Nouveau, and Indian temples), but once you have heard the sonic reactions of Alain Pierre on this the first-ever dedicated Druillet documentary, Ô Sidarta, complete with his own equivalent sound palette, it will be difficult to “hear” Druillet’s world via any other composer. Despite Druillet’s truly incredible record sleeve designs for projects like cosmic disco ensemble Black Sun, concept albums such as Attention by Jean-Pierre Mirouze (composer of Le Mariage Collectif), Parisian metal bands like Sortilège, gatefold portraits of Jimi Hendrix, later period albums by William Sheller and most relevantly on albums by Igor Wakhévitch (Docteur Faust, 1971) as well as separate releases by both Richard Pinhas and Georges Grünblatt (both from the cosmic prog outfit Heldon), it is fair to say that this criminally unreleased album by Alain Pierre would conjure up the closest synergy between sound and vision that either artist would come close to.

The almost twelve of continuous music that Alain Pierre supplied for Ô Sidarta in 1974 fortunately appears in its entirety, unedited, as it does here for the first time ever away from its original broadcasts. Broadcast on Belgian and French TV that autumn, the film received a warm reception from Druillet fans, prospective film producers and space rock fans lucky enough to catch the short feature.

Throughout his career Alain’s commitment to conceptual music excelled within both cinematic realms as well as with the live arena. Never shying away from the constraints of transporting heavy synthesiser technolog and unpredictable analogue equipment to public spaces, Alain took his self-initiated “live” work very seriously. It was within his lesser-documented performances that you would find the closest sound to the music on Ô Sidarta, proving that the Druillet collaboration was naturalistic and conceptually close to Alain’s personal stylistic agenda. A rare recording of a one-off concert at the Université libre de Bruxelles in October 1976 reveals a very similar set of movements and soundscapes found on Ô Sidarta. This rare artefact has been included on the second side of this record under its original title Notions de physique intérieure (Notions Of Interior Physics) and stands as a perfect companion piece to Ô Sidarta - complete with a very similar “kit list” including the welcome addition of an Arp Sequencer, a Korg Vocoder and a Theremin (a back line whose total would far surpass any stationary studio of the era never mind a live show!).

By looking back at his original composition for one of his very first solo soundtrack commissions, Ô Sidarta, you can hear that back in 1974 Alain had already successfully managed to combine more unlikely musical influences, experimental techniques, and previously unheard soundscapes and studio tricks in to one twelve-minute score than most musicians fail to cram in to a whole discography. But still there is so much music yet to be discovered and Ô Sidarta is just the tip of the iceberg in the middle of a cosmic sea. Much like a character from one of Philippe Druillet’s books, Alain Pierre is a rogue pilot, steering his own ship in to the unknown, uncharted, unnoticed and quite unbelievable.

Limited edition remastered, originally released on F Communications 2004. A beautiful release for the French label here provided by a man that very rarely puts a foot wrong. - RA review (4.5/5)

The brilliant Jori Hulkkonen returns to the French based F Communications to help the label celebrate 10 years in this volatile industry by gracing them with 2 original productions of his own in his A Letter From Cardassia EP. Expect trademark quality house that Jori has become famously known for in his years of producing.

First up on the EP is Fermi Paradox. Retro at its finest, the track features some very nice crisp drum patterns and a bouncy baseline to get very excited about. As the track builds, the baseline forms into a bouncing retro synths, accompanies by fantastically produced drums and percussion. Funky house with a electro and techy edge, it really must be heard to understand the appeal!

On the flip is the Live Version of 7 Strange, 7 Faith. The beats are quirky, and the baselines bouncy in this production that is just as impressive as the tasty a-side. A brilliant groove is created by the low end sounds, and also by the beautiful string patterns that ride the track for the majority of the record. A quirky vocal line doesn’t harm its allure in a track that increases in emotion as it progresses.

A beautiful release for the French label here provided by a man that very rarely puts a foot wrong.

Lontano Da Dove? by DsorDNE is a four-track LP written and recorded between 1996 and 1999 - at Acqualuce studio in Alpignano, Torino - by the mind of Marco Milanesio and Luciano Gelormino. Additional guitars were provided by Danilo Beltrame on piano zeroquattro (extended) and vocals by Snowdonia founder Cinzia La Fauci.

It was conceived to be released at the time but only a few promo copies were distributed. After about 20 years, the original recordings, which were considered lost, were found by Marco, who remastered them in his O.F.F studio and brought it back to life.

The all album is an organic work, who mash spoken ethereal voices and dubby basslines with tr-909 beats, borrowing elements from trip hop, techno and industrial.

Fabrizio Maurizi makes his debut on Infuse this October as he delivers his latest EP ‘Jumping’, backed by a remix from Pierre Codarin.

A staple within the Italian house and techno scene for over a decade, Bologna’s Fabrizio Maurizi is a producer and DJ now known across the globe for his seamless blend of the two styles across his productions and DJ sets. One half of the duo Bassa Clan, with material via their self-titled imprint, and a member of the Bolo Represent collective, Maurizi’s recent releases include EPs via labels such Bodyparts, Memoria, Want?, Re.face, whilst playing sets worldwide for renowned institutions such as fabric, Robert Johnson, Womb and Cocoricò. Next up, October signals the arrival of a new name to his catalogue as he heads to FUSE sister imprint Infuse to deliver three fresh productions in the form of his ‘Jumping’ EP – accompanied by bubbling UK talent Pierre Codarin on remix duties.

The slick and paired back title track ‘Jumping’ opens proceedings as Maurizi fuses minimal soundscapes with more jazz-influenced notes and tones, whilst Pierre Codarin’s remix ups the energy levels as he introduces metallic drum licks, spiralling electronics and a snaking bassline to the mix. On the flip, ‘Night and Day’ harnesses a classy blend of dubby chords, slinking hats and echoed vocals, before closing the package via the off-kilter rhythms and loose, glitch-driven drums of hypnotic after-hours cut ‘Caravel’.

With music from a mix of talented producers, ISSUES is about to release their first ever VA vinyl only limited edition compilation. Each quarter there will be a VA which will contain the best selling tracks of each release and it will also be a way to showcase the sound of the label and promote the artists.

On the A side artists there is Joseph Edmund “It’s ON” track which has Josephs trademark sound with trippy breakdowns, strong buildups and heavy basslines and also Spanish producer Alvaro Am “Activate” reflecting his new renovate sound, offering an infectious vocal hook and a heavy bassline.

Side B includes Kabbina’s “Amnesia” which effectively reflects the trio’s unique style. Using an unmistakable synth shot, prolific vocal and a wobbly bass line that complete the dynamic track and Campbell Fryer’s “Moody” which is a unique groovy tech house track that has appeared in many sets including Michael Bibi, Detlef, Steve Lawler to name a few.

Despite current circumstances, Speedy have had a busy year. The London-based label run by producer Dan Carey alongside Alexis Smith and Pierre Hall were recently coveted with the Best Small Label Award by AIM after being nominated for the second year in a row. Carey also picked up UK Producer Of The Year earlier in the year at the prestigious Music Producer Guild Awards. He also produced the critically acclaimed sophomore album ‘A Hero’s Death’ by Fontaines D.C. which landed a welldocumented No. 2 position in the official album charts.
Speedy Wunderground released their fastest ever selling 7” - The Lounge Society’s timely tour de force ‘Generation Game’, the second band to be signed to the label for a forthcoming EP release following Squid’s ‘Town Centre’ EP in 2019. They also announced the label’s first ever full album release - Tiña’s ‘Positive Mental Health Music’, with recent single ‘Golden Rope’ having just come off the A-list at 6 Music.
Bringing bands into the studio wasn’t an option so the label started an ongoing project called ‘The Quarantine Series’ in which Carey under his Savage Gary techno/electronic alter ego collaborated with artists and friends, old and new over the internet and then uploaded them to the label’s Soundcloud/socials with little or no fanfare - no PR-ing or radio pluggers, just let the bands do their own thing, organically.
The common thread throughout all is Carey, whether it be in his regular name or his Savage Gary guise. However, collaborators in the series so far have included a wide range of people: Kae Tempest, PVA, Willy Mason, Heartworms, Warmduscher, Charlotte Spiral, Boxed In, Stephen Fretwell, Goat Girl and more.
“We chose two tracks/artists that I think we really wanted to shed some more light on” says label co-runner Pierre Hall. “Two that we really didn’t want to go under the radar - and in our opinion reflect this parallel strand of the label that’s forming - with new artists we’re really excited about - and that will hopefully draw people in to explore the series as a whole.”
First on the release is ‘Wait & See’ from rising Bajan artist RoRo. A hypnotic masterful flow which meanders seamlessly around Carey’s pulsating electronics. It’s bursting with attitude and originality. “I saw Dan Carey play with Kate Tempest on one of my first few times ever being out in London” she says, “it was such an amazing show. I was extremely excited to then get the chance to work with him. I’d been trying to do so while in London, but it didn't quite work out that way. We did manage to make it happen remotely whilst I was back in Barbados though, and we knocked it out!”
Second is ‘Cigarettes Pt. 2’ from the enigmatic Londoner youngblackmale AKA Rutare Savage: “It’s a poem, transformed into a song by the ever amazing Dan Carey. It touches (lightly) upon the topics of fear of the police, drug and alcohol abuse, family, and pulling oneself out of a nihilistic worldview driven by a newfound lust for life. This is me trying to reason with the void.”

Bay Sine Recordings, originally known as Bunkr Music, started as a project of music blog Playhous net. A year after it's founding, Bunkr separated from Playhous and the name has since been changed to Bay Sine Recordings. Bay Sine was officially launched December 7, 2016 with a party played by the one and only DJ N-Type.

The sixth vinyl release of the Valencian label HC Records is signed by the legendary

brothers John & Paul Healy aka "Somatic Responses" in "Interlinked Ep". To talk about

them is to talk about real heroes of the history of the most personal, raw and abstract

electronic music born in Wales. Active since 1994, to this day they continue experimenting

with all their analogical stuff to compose with tremendous regularity.


The neural connection of wet cable with the Somatic Responses universe begins with "Satin

Armour", a stunning and beautiful electro melodic track surrounded by rough rhythms and

strange atmospheres like a rose protected by steel thorns. Raw, primitive and rough rhythms

are the presentation card of "Snake"; a track with a marked industrial influence where an

avalanche of beams and Martian LFOs, with a marked acid taste, develop along this

primitive discharge of high electric voltage. The mechanical and industrial force hits our

prefrontal cortex in "Interlinked (Cell Mix)", a sonic aggression that combines all the

violence of the Intelligent Hardcore Techno with an avalanche of mysterious and fatalistic

auras coming from a future Cyberpunk.

"Aria" inaugurates the B side of the vinyl in a demonstration of harmonic virtuosity and

synthesizer juggling, seasoned with a whirlwind of accelerated broken rhythms totally

saturated with emotion, passion and hope.


The album's farewell track is "Heading South", a strange emotional trip, with velvety

cadences and dreamy pads seen through a stereogram, a potential anthem.

Four digital bonus tracks complete the journey through the dark future designed by the


Healy brothers:

"Dolaucothiacid v2" is an advanced and sharp experiment in several layers of pressure and

distortion around the amalgam of possibilities of the stacking of corrosive sequences and

abstract structures.


"Automaton Reign" reinvents all the concepts of the most acidic and vengeful Techno

Industrial, a merciless brain-roller. Persistent Illusion infiltrates us in the middle of an epic

and decadent combat of space cruisers where nobody survives, rhythmic rage and metallic

histrionics. We don't abandon the forcefulness or the post-apocalyptic hysteria in "Cell

(Loquelic Mix)" a demolishing closure that connects us fully in the already tangible manmachine

connection.



For this special release, we have collaborated with the Valencian artist Manuel Monzonís,

who has been in charge of creating the cover illustration. A stunning work that perfectly

captures the spirit of this Interlinked EP.

FILM Recordings will release the debut LP from Denial of Service.

The album follows up EP's Sensou (2015), and more recently Contour & Shape (2017) - but marks the producer's most expansive release on the label thus far by some margin. Clocking in at 15 tracks, the lengthy opus draws from the same palette found on previous work - drum machine driven, heavily mutated Electro and IDM sit alongside low slung Techno cuts and arpeggiated EBM references. As ever, the production is stunning - crisp and plosive, as much a record for the club as it is a tempered headphone experience; whilst the mood channels that same dank, claustrophobic energy found on previous missives.

As a body of work, the LP displays the distinctive touch of a production veteran. The transformative shifts in structure on opener A Fine, New Mother Now belie a kind of boldness found less often across the contemporary electronic music landscape; and the drum programming on IDM-leaning explorations Autoimmune & Supercell bear the hallmarks of a perfectionist with time on his hands and in full control of his art. Space and the placement of sonic components plays a huge role in the artist's work and the 3 Stigmata of Palmer Eldritch displays this canny knack for generating both textural, wide angle soundscapes whilst maintaining that wrought-iron edge to drums and percussive elements - even more fervent, noisy compositions like Dr Manahattan manage to keep hold of this remarkable balance. It's impressive stuff, a fine and well worked meeting point between artistic vision and engineering prowess.

An elongated discussion, no doubt - but worth hearing every word. Each twist and bend, however sharp, remains carefully placed and beautifully recorded. Dryer works Slither & Junkie Foxtrot towards the LP finish offer a less introspective, more hard hitting angle to the work, and by the time the listener arrives at dual closer the Daisy Chain - Adults - they're ready for its heady catharsis.

The debut album from Denial of Service is a trip, and the line between club space and home listening environment is decidedly blurred - an emotive exploration of true psychedelic Electronica, delivered direct from the source.

GILA is an electronic music producer from Denver, Colorado. His debut album, Energy Demonstration, blends bass-heavy, leftfield techno with detailed ambient textures, and showcases GILA’s impeccable production style.
Energy Demonstration - out 20th November on Lex Records - follows earlier, club-focused releases on XL Recordings, LuckyMe & Benji B’s Deviation. GILA, (pronounced “hee-la”) takes his name from the gila monster, the only venomous lizard native to the United States -- slow yet powerful with a potentially deadly bite, this colourful reptile possesses many of the same qualities as GILA’s music.
GILA started to make his mark as one half of rap duo, Gorgeous Children, before striking out on his own. As GILA, his signature, hard-edged sounds have been championed by Thom Yorke, Flying Lotus, Benji B, Jamz Supernova, and led to collaborations with Boys Noize and Rustie. Since signing with Lex, GILA’s released a pair of EPs; 2019’s Trench Tones and 2020’s Three Riders.
As a DJ GILA has shared stages with Metro Boomin, Telefon Tel Aviv and fellow Lucky Me alumni Rustie & Hudson Mohawke.