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As audacious as the sleeve it comes housed in, the UK's most eccentric audio malefactor returns with his eighth studio album, Practical Electronics with Thighpaulsandra. Unique in the Thighpaulsandra oeuvre, this one eschews the usual group based recordings, consisting of electronics and vocals only.

Hovering between haunted narratives and extended instrumental sequences Practical Electronics is an eccentric excursion into playful pop and fearless electronic experimentation. Simultaneously intimidating and accessible, the energy of this untamed mind unleashes an artefact where high art unfolds as an oblique electronic cabaret.

Having cut is teeth amongst such legendary outfits such as Coil and Spiritualized Thighpaulsandra has constantly catapulted himself further and further into a musical landscape utterly of his own devising. Practical Electronics is the latest exemplary installment of a voice that is uncompromising as it is outlandish.

For the second release on Futurepast, MGUN aka Manuel Gonzales offers a fresh take on his Detroit roots with three tracks that escape the usual categories. No two subsequent bars are identical, simultaneously reflecting and satisfying our curiosity. Gritty drums and panned-out synth sequences in 'The Nerve' result in a suspenseful yet unmistakably energizing step. 'Snap In', with its funky, reverb-soaked highs and hefty breakbeat, demonstrates MGUN's talent for folding in his electro and hip-hop influences. 'Intent' recalls a dreamy, vintage slideshow projector, misplaced memories lining up in a heartfelt procession. Each track taps into an elemental feeling within, fitting snugly into Futurepast's time-traveling vision.

Italian sound designer and Soma alum Roberto Clementi steps up with a MOC-worthy release comprised of three original tracks with BNJMN on remix duties.

Standout track ' Plebiscite' makes a statement from the first bar with a pounding bassline. It's a clae peak time heavy-hitter that energizes with its shriek, alarm-like highs and understated yet powerful percussion.

Just off the stride of releasing his third studio album, BNJMN puts on his remixer hat to take on the leading track, adding an ethereal dimension through evocative pads and percussive rattles.

On the flipside, ' Evocate' skewes dark and minimalist with a simple lead and eerie-laden somber sequences. Simplicity proves itself just as compelling as more complex layering, rendering an overall dance-inducing atmosphere.

Acid-laced ' Cription' spells techno in a more experimental, non-kickdrum reliant manner. It's a refreshing take on the genre in a piece that is reminiscent of early rave days.

The fifth offering in the opening 12' series by Pfeiffer, the Los Angeles label is proud to bring a mysterious producer to the fold. 9th House made his debut in September 2018 with the dreamy 'Feel It In The Evening' featuring NYC artist Baltra on vocals. With support already from BBC Radio 1, BBC 6 Music, KCRW & Radio Nova to name but a few, this latest release on Pfeiffer sets the tone for a busy year for 9th House, with an impressive slew of forthcoming original works coming on labels like Jamie Jones' Hottrax, Alan Fitzpatrick's We Are The Brave, and TEED's Nice Age.
On the A-side, 'Iter' brings an agile 808 workout with synth sequences so dreamy you can almost feel them bouncing off the tents at Dekmantel. A twinge of acid towards the end gives it the edge to find a home on sweaty, low ceiling dancefloors. B-side 'Mercury' provides an introspective roller to round out the package described by Tom from Groove Armada as the "heads down, 6am groove." Precise drum machine grooves effortlessly cut through the lush soundscapes to hypnotic effect. Both tracks showcase a heavily Detroit-inspired sound, but with a deft modernism.

The four tracks on this EP represent a bit of a transitional phase for Louis Jaquet (aka Kid Who), marking a move from a basic setup with an MPC2000XL sampler and a computer to a fully-fledged hardware studio. The initial versions of these tracks were quick jams that he had made early on in this change, but which had lay dormant on his hard drive for some time, before being revisited and reworked for this release with the new equipment.

'Rhythm Code' began life as an exercise in using only freely distributed software synths, and the majority of those sounds are still there, bar some additional acid sequences and tweaks to the rhythm parts.

On 'ZF Cut' his focus switched to samples, in an effort to squeeze the most he could out of his MPC, which at the time had only recently been upgraded. The unassuming beige box gives colour to anything you feed into it (breakbeats in particular), and a host of basic onboard effects add further quirky character, in this case hollow drones and rumbles which are the core of the track.

One of Kid Who's early purchases was a cheap old Yamaha multitrack cassette recorder, which presents many opportunities for sound manipulation. Different tape speeds, tape types and manual manipulation during playback open up a world of noisy, woozy atmospheres, some of which formed the basis of 'Spool Night'.

Of all four, 'Timescape' required the least revising, and the version presented here is very close to the original, 100% computer-based draft. Although the beat was built with Roland 707 drum machine sounds, a staple of early Chicago house records, he wanted to juxtapose these with a more up-to-date techno aesthetic, with a handful of final touches added in the new studio to finish

The four tracks on this EP represent a bit of a transitional phase for Louis Jaquet (aka Kid Who), marking a move from a basic setup with an MPC2000XL sampler and a computer to a fully-fledged hardware studio. The initial versions of these tracks were quick jams that he had made early on in this change, but which had lay dormant on his hard drive for some time, before being revisited and reworked for this release with the new equipment.

'Rhythm Code' began life as an exercise in using only freely distributed software synths, and the majority of those sounds are still there, bar some additional acid sequences and tweaks to the rhythm parts.

On 'ZF Cut' his focus switched to samples, in an effort to squeeze the most he could out of his MPC, which at the time had only recently been upgraded. The unassuming beige box gives colour to anything you feed into it (breakbeats in particular), and a host of basic onboard effects add further quirky character, in this case hollow drones and rumbles which are the core of the track.

One of Kid Who's early purchases was a cheap old Yamaha multitrack cassette recorder, which presents many opportunities for sound manipulation. Different tape speeds, tape types and manual manipulation during playback open up a world of noisy, woozy atmospheres, some of which formed the basis of 'Spool Night'.

Of all four, 'Timescape' required the least revising, and the version presented here is very close to the original, 100% computer-based draft. Although the beat was built with Roland 707 drum machine sounds, a staple of early Chicago house records, he wanted to juxtapose these with a more up-to-date techno aesthetic, with a handful of final touches added in the new studio to finish

First albums are points of self-assessment for serious artists, and following his 'Shatterproof' full-length, MANHIGH label head Henning Baer returns with 'Rigger', a full EP of new production and refined directions. Dank, squelching electronics in the opener 'Corp' overlay a dark ambient atmosphere with evolving, pointillistic details, favorably recalling his early accomplishments on Sonic Groove. The title track combines subtlety with force, its slowly-tweaked acid line unspooling over grinding, corroded drums in relentless slow motion, with insistent percussion pushing ever onwards. Acidic brutality returns on 'Variant of A', which wallows in filter feedback over stomping two-beat kick patterns and lashing claps. Closer 'No Mind' is caked in accumulating layers of distortion centering on the off-beat kicks; the disease of decay spreads further to the hi-hats and threatens to engulf the circling sequences that anchor the track's midrange, with an eerily distant steam blast and half-time bleeps enforcing the track's militant, industrial character.

In this compelling debut release, NETSH takes the listener on a one-way trip to his world with his own unique take on acid, braindance, electro, jungle and even a dash of hardcore. Frenzied breakbeats, thick and melodic 303 sequences, ass-shaking drum programming along with deep and lush pads are the constant on this record, coherent and diverse a the same time, which tells a lot about the young producer's musical maturity.

In this compelling debut release, NETSH takes the listener on a one-way trip to his world with his own unique take on acid, braindance, electro, jungle and even a dash of hardcore. Frenzied breakbeats, thick and melodic 303 sequences, ass-shaking drum programming along with deep and lush pads are the constant on this record, coherent and diverse a the same time, which tells a lot about the young producer's musical maturity.

Following a first compilation in 2016 and a series of parties, Rinse France & Piu Piu join forces for the first release of her own label : Grooveboxx Records.

Together, they present 'Memorias', the first EP of her new imprint.

Quite explicit through its title, Grooveboxx catalogue stands for an exploration of the grooves across its modern shapes, it embodies the quest of trance throughout music and question the body and the individuals on the dancefloor.

The first release is composed of 5 percussive tracks from producers and DJs Aleqs Notal, Myako and Geena.

All tracks are exploring samples coming from the Musee du Quai Branly's ethnos collection along with some some field recordings captured in a garden in Paris where south American tribes were exhibited during the ""Universal Exposition"" in Paris.

With Salvia Cosmica Myako takes us to a progressive voyage surrounded by all kinds of spirits whispering melodies to our soul while the tribe's marching band marks our footsteps with its strong percussions. Enter the forest.

Influenced by Chicago & Detroit, house producer Aleqs Notal graces us with a percussive jam baptized Finger Prints.
6:45 of pure rhythmics honoring the roots of the music its been sampled from. The rite begins.

La Dansa Del Risa is a conversation between birds and humans overlooking at the tension one night in the forest can impose on our western fears of nature. Stay close to the flames.

Antinote senior, Geena blesses us with Selva Spirit, a slowjam reverie filled with eerie pads and peculiar drum sequences.
We're almost there.

Last but not least, Jungla Encantada seals the EP with a deep wisdom and mastership of the jungle's best kept secrets. It's slow pace and flute melodies appease our senses while mysterious dialects becomes our native language.

The journey is complete.

The fifth issue of Blacksilk sees the return of label head Marc Ash. Following the debut of his one-project moniker Plovdiv in 2016, a tape EP on Clan Destine and appearances on labels such Helena Hauff's 'Return to Disorder', he now comes forth with a work that reveals a deeper side of his obscure and multifaceted vision of electronic music.

Rejecting any fixed musical categorization, the listener is left free to decide how to deal with these compositions, each one exploring different areas of Marc's approach to existence through seductively articulated synth lines.

A work of self-reflection and a stark celebration of controversial times of uncertainty and doubt.

Deadpan vocals extracted from Godard films, eerie Teutonic fairytales and Marc's own deconstructed voice take the listener by the hand on a rollercoaster of anxiety and active resignation to the absurd post-everything age in which we live.

Silent Servant's reinterpretation of 'Take your Judgments' crowns the EP with a shadowy march built on repetitive sequences, abruptly waking us up from the sinister dream and leaving a sweet yet sour taste in our mouths.

Born in Venezuela and based in Barcelona, Luis Garban aka Cardopusher has spent the last decade creating a wide variety of noisy dancefloor assaults. Although his roots lie in the breakcore scene, he's slowly gravitated toward a raw, electro-infused take on techno that is no less compelling. Along the way, he's released music via labels like Terminal Dusk, Murder Channel, Hyperdub, and Tigerbeat 6, and has also found the time to launch his own Classicworks imprint, which he continues to run alongside co-founder Nehuen. Cardopusher has also forged a relationship with German bass enthusiast Boys Noize, issuing a pair of EPs as well as two full length albums.

We are proud to present a new 6-track EP titled 'Muscle Memory' that takes the listener on a deep and gritty ride through his diverse sound, from techno to electro, acid, rave, and house. Luis is inspired by labels like Warp, Schematic, Planet Mu, Rephlex, as well as EBM and New Beat. Hard-smacking claps and raw TB-303 sequences merge with robotic vocals, solid and perfect for dark dance floors. The B-side features one track with haunting guest vocals by fellow Barcelona musician, Ivy Barkakati. Luis says the main themes of this EP are obscurity, desperation, confusion, nostalgia, escaping the world's indifference. All songs have been mastered for vinyl by George Horn at Fantasy Studios. Housed in a workout themed die-cut jacket designed by Eloise Leigh with raw acid-style mixed bold type and sporty graphics.

Nirosta Steel is a sometime alias of Steven Hall. Musician and survivor of the `80s NYC`s art melting pot. Everybody Sing dances like Steven`s long-term collaborator and lost-way-too-early friend, Arthur Russell. As he forced irresistible, idiosyncratic, Disco-Not-Disco, out of the Ingram Brothers. Riding low rumbling bass. Phased guitar, country picking, flickering in and out of the mix. Strings, choir boy falsetto, and blue yodel, cutting through its delay-drenched, dance floor delirium.

L.A.`s Cole Medina delivers two reworks. His Heavy Disco take is intro`d by cowbell and synth swirls. Cymbals crashing like sampled surf. With Stratocaster microtones, and echoes of the original, washing over an electronically, re-imagined B-line and trip-py sequences.

Cole`s Knuckles Tribute sets poignant piano and gated orchestral euphoria against a classic Def Mix groove. Revealing the song in epiphany. Clarifying the lyric`s call for unity. Where singing your troubles away is a analogy for strength in adversity. Everybody hurts sometimes. In that, we are united. Eventually heading towards its own disorientating climax. Comin` at ya from all sides.

Mind Fair`s version goes in for some tribal thumping. Stripping the track down, before building it back up. Its big kick blowing bins like a hyped heart pumping within a giant's chest. Chicken scratches dropping in between its colossal 'lub dub', and Coati Mundi-meets-Jah Wobble-like Punk Funk..

Late November will see Tact Recordings vinyl only sub-label Tactics return with 'Vol.4', a various artists package featuring Jor-El aka Joel Alter, Imugem Orihasam and Benjamin Brunn.

Tactics was launched in late 2017 by co-founders of the imprint Yard One with their 'Vol.2' EP, following on from the 'Vol.1' various artists EP released on the main imprint Tact Recordings back in 2012. Since its inception last year and it's two releases so far from founders Yard One and Fletcher, the label has garnered the attention of DJ's like Varhat, Roger Gerressen, Raresh, Malin Genie and Andrey Pushkarev to name a few. Here though we see the imprint welcome some of it's favourite artists from over the year onto the roster, namely Echocord artist Jor-El aka Joel Alter, Ilian Tape's Imumgem Orihasam and Smallville regular Benjamin Brunn. Leading on the package is Sweden's Jor-El with 'Remember Tomorrow', a gritty dance floor workout fuelled by dusty drums, fluttering stab sequences and sweeping synth strings before Japanese producer Imugem Orihasam edges into dub territory with a cinematic two minute soundscape opening the composition before weighty drums, swirling pads and dubbed out metallic chimes dynamically unfold throughout.

Hamburg's Benjamin Brunn then closes the package with 'ResoPlanet', as always delivering smooth, understated electronic music via wandering ethereal pads, resonant bleeps and bumpy, off-kilter 808 drums.

Russian producer Nocow returns to Rekids with an enthralling full-length album entitled 'Atoner' this November.

Real name Aleksei Nikitin, Nocow is known for his versatility, producing a large body of genre spanning work on labels like Clone Royal Oak, Figure, Fauxpas Musik, Gost Zvuk and Styrax. The St. Petersburg-based producer debuted on Rekids last year with his 'Samaya Dolgaya Noch' EP, a mellow release complete with vocal driven cuts as well as 2-step rhythms, and now returns with a myriad of productions in a fourteen track album entitled 'Atoner'.

'Atoner' opens with an eponymous track that gently unravels with soaring synths and subtle percussion before Nocow's voice emerges alongside twinkling atmospherics in 'Complie'. Throughout the long player are also intricately produced short tracks sitting between the two and three-minute mark such as looping vocal number 'Dancerecter', the melodic and rattling 'Leto' and ominous 'Delore'.

Ostanovitsa' is a murky offering featuring a meandering organ riff, leading into the pitter-patter drums and serene chords of 'Starveme (feat. Tayut Ogni)'. 'Come Along' is a crystalline and otherworldly experience from start to finish, whilst 'Melting Lights' is comprised of echoing, subterranean sounds, making way for reverberating snares and metallic stabs in 'Standalone'.

Husky murmurs and soothing notes then make up 'Neva', moving into the syncopated beat and idyllic chord sequences in 'Can't Get Enough' ahead of 'Stonecold' and its icy aesthetic. Finally, the album reaches a mesmerising conclusion with the spellbinding 'Footer'.

The 13th Voodoo Down release is the sophomore EP by label co-founder Sean Phillips aka 12 x 12. The follow-up to 2014's Kobayashi Maru, this four-track EP is the culmination of honed process and techniques over the past several years to produce a more organic groove-based style of techno. Mostly the work of a sampler and some analog synths, the tracks range from warm broken-beat atmospheres to digital sequences.

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.'

As one of NYC's most innovative individuals, Incienso are happy to announce Kiki Kudo's debut full length EP 'Splashing'. Operating seamlessly between the mediums of music, food and general vibes, her new release follows up the 'Mineral Sequences' mixtape on Good Morning Tapes, plus a track on Physical Therapy's allergy season compilation 'Physically Sick Vol 2'.

After starting music production just last year with one sole piece of hardware (but DJing in NYC years before), these are some of the wildest songs in time. A self-described mix of 'Nanotech Pop, Synth Jams, Kitchen Wave, and Listening Techno' - somewhere between the experimentalism and anything-goes ethos of the downtown scene, the out-there exploration of City Pop, and a world all of her own.

Milton Bradley debuts on AVION's Crossing with three ferocious techno cuts under his Doomsday Device moniker this November.

Since its launch in 2013, Crossing has mainly acted as a platform for its founder, Index Marcel Fengler and Stress Research producer AVION, however the imprint has also hosted techno artists like Thomas Hessler, Pfirter, Doka, The Automatic Message and Stefan Rein. The label now presents a full release from Milton Bradley, appearing under his Doomsday Device guise. Founder of Do Not Resist The Beat!, the German producer has also appeared on labels like Prologue, MDR, Ann Aimee, and many more.
First up, The X-Planet' uses relentless drums, arcane vocal murmurs and bursts of white noise to

set the tone for a truly militant release. Device 4' is then a twisted journey from start to finish, with its pitter- patter sequences and oscillating sci-fi inspired atmospherics, making way for The Yesterday Machine' with its menacing aesthetic complete with ebbing synths, crashing hats and off-beat snares.

Steve Bicknell returns to his 6dimensions label, adopting his The Evader guise once again with a re- issue release titled 'Awakening The Past 2'. Returning as The Evader for the second instalment of 'Awakening The Past', this will be Steve's fourth appearance on 6dimensions and features four tracks from 1994's 'No Hats Required' EP, which dropped on influential UK label, Cosmic Records - the tracks were originally made by Steve to be played together as a segment in various combinations. This release follows outings from 6dimensions artists Jing, Metro Skim and Heartless - continuing the label's theme of illustrating the 'human mind's natural make-up'. 'No Hats Required - Track 1' displays a locked 4x4 groove, filled with tidy modulations bouncing gracefully off the kicks before 'Track 6' offers a fast-pitched looping beat with floating percussive jitters. 'Track 2' then features twisted stab sequences over a minimal drum loop before a rolling 808 beat joins oscillating bass flutters in 'Track 3'. On the flip, Bicknell presents two new tracks recorded in 2017. 'Power Of Balance' provides cross firing synth shrills layered and tough techno convolutions to generate a rising intensity, until 'Shifting Illusion' concludes the package with minimalist dubbed-out flavours whilst flush melodies harmonise with continuous pulsations.