Suche:subsist

Group is a project with its own sound and a gradually expanding style, and Seedman perfectly reflects these attributes. With 160925_1145, the first cut on side A, the ritualism he has previously exhibited on other albums such as Esoteric Free Afrika, or more recently with Broken Faces, is somewhat apparent, due to the slow cadence, steady rhythm and tribal arguments. 160205_1066 is created from another perspective, however, it is not what it seems because from the first bars there is a syncopated and constant rhythmic pattern that places you in an industrial scenario, and gradually a simple two-tone melody appears that completely changes its initial musical context. 170218_1475 moves between an industrial and dark ambient concept, as it mixes gloomy atmospheres with deep breaks.

The sonic properties of 160131_0683, the cut that opens the B-side, connect with an unexplored environment, with a new, recently discovered and inhospitable scenario, since among other things we can appreciate sounds of machines, radio signals, filtered and choppy voices, combined with disturbing acoustic phenomena. 170213_1455 is a track that describes quite concisely the creative sense of Group, and for this we must take into account that it could be catalogued as a techno production, with groove and aimed at the dancefloor, however, he manages to minimise all these factors by giving it a volatile and atmospheric aspect. 170105_1398 closes the B-side of the vinyl, returning once again to the tribalism and ritualism that characterises many of Group’s productions, given that on this occasion his rhythm is not diluted, it has much more presence and manages to generate a hypnotic state.

In addition to these six tracks that make up the entire vinyl tracklist, Seedman also presents a couple of bonus tracks in digital format. And the first of them, The beast11, already arouses curiosity because its title is not due to a sequence of numbers, as is usual in this project. Musically, it once again shows Group’s ability to adapt any environment to a sonic degradation very much in keeping with his style. 150407_0166, the last track on the album, is an ode to chaos, a hodgepodge of frequencies devoid of rhythm that appropriately serves as an outro.

RVDMNTL's first release, composed of energetic and functional cuts in which textures, the distortion of some elements and a sound synthesis coming from modulars and analog devices seek to push the tracks to the limit and provoke their disfigurement.

Previously protected under other artistic names and owner of the INCENSE label, the artist definitively adopts this pseudonym after some years exhibiting his sets in booths and in charge of productions that seek to shape the genre through his own conception. Now, he will go into a more personal, complex and focused on the dancefloor. Non-conformism, independence, originality and forcefulness remain a common element in the artistic figure and label he runs."

Mastered at Koschitzky Studio
Artwork by Malsombra

All the machines and wires of Hekotr Legion always create powerful Techno! This is no exception! Viking Force at Subsist catalog! Remixes are stunning!

2025 Repress

Amotik recruits Norway's Kameliia and Dallas-based Decoder for the third split EP on his increasingly essential AMTK+ label.

Kameliia's hypnotic and atmospheric music has appeared on the likes of Overbalance and Unterwegs, where she has previously flexed her sophisticated take on sound design and heady soundscapes with driving and physical grooves. Decoder recently started his new Toca label with Jay York and has previously appeared on labels like Subsist, Float and Jeff Mills' legendary Axis.

Kameliia kicks off with the heavy and thumping 'Beyond', combining forceful drums and a slow, mystical synth lead that encourages you to follow it deep into the night. '8-12' is another perfect fusion of the head and body with supple percussion smeared with balmy and cosmic chords for a classy and immersive cut.

Decoder opens the B-side with 'Kalpavriksha', a twitchy and paranoid cut laced with bleeps and pulses, crafting a futuristic soundscape that grows ever more intense. 'Swayambhu' brings experimental shades with its tightly interlaced drums and synths beneath an unsettling synth line that whistles like a storm. Closing the release is the excellent 'Velinattu,' a buoyant track that's warm and full of delicate percussive layers.

Second chapter for the new VA vinyl trilogy on R3volution Records called

In this edition there are the following artists under our attention:

- PWCCA, label owner of the top labels Hardtools and Inducted Waves and acclaimed world-famous Spanish producer, already distinguished with severeal appearances on our label including the latest release "Programming Language EP" last year;
- PUSHMANN, another top Spanish DJ and producer, making his debut on
- PYRAMIDAL DECODE authentic Italian based talent who, with many appearances on our label, has also found the time to make his music recognized around the world thanks to numerous releases on labels that represent milestones in the international techno scene, such as WarmUp, Mord, Dynamic Reflection, Faut Section, Edit Select...
- JOAQUIN RUIZ, the only non-European artist on this release, has already made many appearances on our label both as a solo release and as a remixer. He is a DJ/producer on the West Side of Buenos Aires. Ambitious and always looking for new challenges and opportunities, Joaquin is definitely one of the newest emerging talents from the techno music scene in Argentina. He runs his label West Rules too and also releases his music on respected labels of the scene such as Devotion, Knotweed, Affekt, Selected, Subsist, just to name a few
- MICHELE MAUSI founder & label owner with another amazing track called Waterloop
- MDMP is Michele's 2nd alias in pair with DANIELE PETRONELLI with a pure BOMB track called Under Armor

Mekanika Recordings from Sofia, Bulgaria is a techno label ran by Stevo Kurt aka DJ Steven the main resident of Metropolis events that have featured the likes of Sven Vath, Ben Klock, Len Faki and Ellen Allien amongst others and and Svilen Dzhonev - Ziggy - A & R of the label.

MKNK002V is the second of a limited vinyl series consisting of 100 copies.

Spas Tzvetkov aka Asymmetrik is a fellow Bulgarian who returns to the label for a four-track EP following remixes of Stevo Kurt on MKNK002. As a producer, Asymmetrik has an album on Steve Parker's MUTED rec in Portugal, Bulgaria's Hivemind, and Spain's Subsist, among others.

Asymmetrik is unbalanced. Asymmetrik is unconventional.
Asymmetrik is unsettlin

Julian is back on Subtil Records with Metamorfoze EP Part II, presenting four highly energetic, deep hypnotic cuts.

This EP will enthrall listeners with its intricate rhythms and captivating underlying melodies, pushing further Julian’s research of hypnotic patterns and raw textures.
The former goes first with the deeply stylish tech-house number that is 'Deeper Love', with its bumping drums and goes bass get you in the vibe right off the bat. Next comes 'Subsistance', a minimal house cut that is tightly coiled, vibrant and damn infectious.
Flip this one over and you'll be treated to the brilliant brace of gems. 'Meta' groove with warped deep space sound designs and airy drums that float.
This varied and vital EP is shut down with 'Signs', a mature track that shows Julian's brilliant skills in music production and evolvement as a producer.

After two decades in the experimental music scenes of New York and Western Massachusetts, Wednesday Knudsen might be known equally as a sought-after improv collaborator and the vocalist and guitarist for the beloved long-running psych band Pigeons or, more recently, as a member of the New England psych-folk ensemble Stella Kola. Though her forthcoming release, Atrium, is Knudsen’s fifth solo album, it is both her first solo work to appear on vinyl and a double LP, marking her rich recording history with a stunning masterwork. Channeling the “atmosphere of presence” alongside the legions of Éliane Radigue, Hiroshi Yoshimura, and Joanna Brouk, on Atrium, Knudsen plays it all—alto saxophone, flute, guitar, synth, piano, autoharp, bass guitar, and vocals. The collected compositions are studies in the tones, timbres, and pacing particular to the woodland environment of the Taconic Mountains where she lives. Atrium’s tracks are sculptural rather than ambient, with a release into the gorgeous hold of gravity that insists we don’t escape or drift away. This is music for remembering time. This is music that reinforces the power of art as resistance. The songs on Atrium distill our attention in a language that Knudsen calls “the opening of the heart,” reminding us that subsistence and community results from our own actions and engagement with our exterior. Atrium is a refuge, vital in our current moment and imbued with resonant power for our future.

At the end of the Sixties, the production of soundtracks for small and big classics of Italian cinema is now joined by another business which has proved to be less profitable but more creative and, in best case, free from the constraints imposed by clients on duty: the composition of music libraries. Almost all of the artists for the eighth art have finalized at least one or more music libraries. Names famous and not, old and young composers, real outsiders and meteors, usually hidden behind pseudonyms: this is the case, for example, of Braen and Peymont. The first needs no introduction, it was the one adopted by the former arranger, multi- instrumentalist, singer and composer Alessandro Alessandroni. The second is closely linked to the mysterious American composer, but resident in Italy, David Hoyt Kimball. The two are authors in different measure of an interesting album with an experimental background, “Paese Sotto Inchiesta” (1971), originally published by Flirt Records.

The titles of the tracks appear in connection with the socio-cultural climate of Italy after 1968 and can be relocated as a background for journalistic-like images. The latter is a hypothesis not supported by facts, but some titles seem to be referred to the perception of a subsisting economic backwardness of the southern regions compared to the other ones; to a situation of collective tension, thanks to the global revolutions; in addition to the new concerns with an ecological background. Overall, the seventeen tracks on the album are mostly 'dirty', characterized by an even atonal setting, with long repetitions in a noisy key, more fundamental reverbs and echoes for the different keyboard instruments. In a few words, abstract sounds, some guitar notes, echoes of Gruppo Di Improvvisazione Nuova Consonanza, flute melodies and proto- ambient intuitions. Composers like Alessandro Alessandroni and David Hoyt Kimball deserve to be rediscovered.

*Following the essence of the work, for this press, MPI release a 100% recycled vinyl that reduce waste, minimize environmental impact and support the planet*

Prairiewolf make easy listening music for an age of fracture. They almost do it in spite of themselves. No one can seriously question the head music bona fides of the members of this Colorado-based trio.

Guitarist Stefan Beck has already assembled a formidable discography of jewel-toned guitar zone-outs under his Golden Brown moniker. And keyboardist and guitarist Jeremy Erwin and bassist Tyler Wilcox have both made their reputations as chroniclers of the vast world of out-music. Erwin helms the indispensable Heat Warps blog, a performance-by-performance archive of Miles Davis’s labyrinthine electric period. And Wilcox has been covering the ragged edges of psychedelia and experimental rock at Aquarium Drunkard and other publications, not to mention his own virtual basement for heads, the great bootleg blog Doom and Gloom from the Tomb.

These guys come by it honestly. And yet, given their backgrounds, Prairiewolf’s self-titled debut last spring was remarkably free of face-melters, brown acid blowouts, and ascendant spiritual jazz odysseys. Instead, they dropped a record of beautiful, elegant, low-key cosmic groovers that sounded like the piped-in background music to a resort hotel on Jupiter. It was an unlikely psychedelia, brocaded with mid-twentieth century sonic threading from the hi-fi era: vintage synthesizers, smears of spaghetti western, luxe tropical details, the faint schmaltz of space age pop. Imagine something like a Harmonia residency in the airport lounge. And yet somehow it all worked brilliantly. Prairiewolf became last summer’s cool-down standard. After a year woodshedding around Colorado’s Front Range region, the Prairiewolf boys have fired up their trusty Korg SR-120 drum machine for another outstanding collection of suborbital exotica. The appropriately titled Deep Time operates in its own chronology, unspooling at its unhurried pace. All its incongruous period and stylistic references—the new age pulses, Hawaiian steel, shaggy hippie rambles, lysergic guitar spirals, and orchestral synthesizer flourishes—float atop the album’s own singular temporality. Deep Time makes its own time.

From the moment Beck folds his slide guitar, origami-like, into a sound resembling the call of gulls on the tranquil album opener, “Peach Blossom Paradise,” there is a sense of departure from everyday life. The shimmering “Lighthouse” has a similar sunbaked nonchalance, like an afternoon passed day-drinking in a seaside bar. That they named their lush, kaleidoscopic downtempo track “The Meander” pretty much says it all. The ranging, propulsive “Saying Yes to Everything” seems like a nod in the direction of Rose City Band’s brand of wookie krautrock. And the motorik noir of “Demon Cicadas in the Night” also goes hard. Beck and Erwin’s intertwined guitar jam on the eerie album standout “The Cold Curve” evolves into something that sounds like primitive computer music. A genteel bassline from Wilcox on another album highlight, “Revisionist Mystery,” sets the stage for a loopy space jazz turn from guest clarinettist Matt Loewen of Rayonism. The title of post-rock cowboy tune “Another Tomorrow” might refer to the alternative future that so many critics heard in the music of Prairiewolf’s first album. Or it might simply refer to the persistence of time, however deep. Either way,

I’m thankful for the way Prairiewolf make each of their tunes a little oasis or sanctuary, each subsisting according to its own crystalline little logic for a few minutes. It is no simple task to filter out the omnipresent anger and anxiety of everyday life these days. But Prairiewolf are out here making it seem easy.

Brent S. Sirota

Deep hypnotic techno for fans of mid 2000's Mills, Token and Semantica
Very proud to introduce the next Voyager Recordings instalment, a full on 9 track album from Spanish artist A4.

Asier Morillas has had many releases on the hypnotic, sci fi and space theme, with such established labels like Axis Records, Warm Up Recordings, Evod, Illegal Alien and Subsist to name but a few. With this vinyl release, he takes his sound for a more dancefloor orientated outing, with his ever excellent use of drums, hats and groove on top of hypnotic synths. Early support from Oscar Mulero, Adrian Lopez, Sverca, Kr!s Token, Slam.

Fixed Rhythms is proud to release a masterpiece double LP by Texas techno young star, Decoder aka Gautham Garg (as seen on Axis Records, Float Records, Amotik, Molecular, Science Cult, Subsist and more). He also runs the fabulous new imprint Toca alongside Jay York. Fixed Rhythms released a 12” EP entitled “Boulder” under his Cratan alias in 2021, and copies zipped on out the door. Not expecting this to be any different.

This is 8 tracks of hypnotic, bendy techno (with a C1 electro switch-up). You’re instantly transported to the depths of the cosmos within your mind on the first needle drop. User beware, this will hypnotize the dance floor. A track for all moments of the deep dance, with a D2 that ends the double LP with a powerfully optimistic sonic statement.

Mastered by Dietrich Schoenemann.
Design by Nick Owen.
Distributed by One Eye Witness.

Limited edition of 300 copies on black vinyl. Don’t sleep!

Social Limbo is the new album by OPEZ. A collection of eleven dreamy, rough, abundant instrumental songs which have the guts to subsist and survive the fluidity of our times. With his melodies Massi Amadori tells the nostalgia and melancholy of a lived, loved and consumed Italy.

In the Limbo of a rebirth. With the desire to imagine himself female, sensitive, sexy. With a swinging mood. The dreamlike suggestion in “Male Nostrum”, the mysterious love in “Venice”, the social raids in “Social Roll”, the dust and the silence in “Limbo” are just some of the tracks that represent the meeting in a place between dark and light, between east and west, with the heart in the south. And as always in that Limbo between life and death. The eleven tracks represent a shared work with musicians and producers of the caliber of Andrea Benini (Mop Mop), Francesco Giampaoli (Sacri Cuori, Hugo Race) and Manuel Volpe (Rhabdomantic Orchestra).

Recorded between Turin and Ravenna in the hot summer months from 2020 to 2023. Once again the images and graphics are curated by the Umbrian artist Aimone Marziali. Mastered by Kelly Hibbert at Almachrome. produced by Andrea Benini.

After collaborating together for more than a decade, Jenny Hval and Håvard Volden released their first album under the Lost Girls moniker in 2021: Menneskekollektivet. The record received rave reviews, including a Best New Music mark at Pitchfork. On October 20th, 2023, the duo will release their second album Selvutsletter.


Like its predecessor, the album title is a made up Norwegian word, a word that almost exists. The band’s own translation of Selvutsletter is «self-effacer»: Someone who tries to erase themselves. Someone who is cleaning out themselves. Performing exorcism. Or perhaps just getting older, less interested in their own present self.


In 2022, Lost Girls were booked to perform a concert at Les Subsistances in Lyon, together with a few Norwegian performing arts groups performing their pieces. The band decided to use the opportunity to create all new material, and think of it as a coherent piece. Working in tandem, with Volden creating beats and wild sets of guitar chords and Hval restructuring the parts, creating melodies, words and adding more sounds, they started spiraling into unchartered territory of shorter, more concise and melodic songs than their debut LP Menneskekollektivet.


As the material developed, words already embedded in the chords, guitar sounds and rhythms began to dance around. Lyrics about cities after dark, music rituals and band practices of the 90s, and the early days of the internet began to take shape. These were Hval's own memories of her hometown and her obsession with creating music as a way of leaving it behind or even setting it on fire. Selvutsletter is, in that sense, about retracing Hval and Volden's steps back to how it felt to discover music, the intensely physical and communal experience of creating something. Certain tracks even go back further, to discover possible happenings in Norwegian towns and cities before any of us were born, using elements of faux folk singing.


Where Menneskekollektivet was about exploring club beats, and expanding and trying out structures, Selvutsletter is about disappearing in experiences. It combines the intuitive, late night feel of Lost Girls’ previous work with experimental rock music as its object. The result is more adventurous than nostalgic: A fiery, bilingual whirl of colors, words, vegetation and electricity.

RIYL: The Fall, Royal Trux, The Dead C, Shirley Collins, ’70s British progressive rock, Dean Blunt.
Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded in summer of 1994 at S.H.P studios (frontman Graham Lambkin’s parents’ home), the group’s sophomore record Put the Music In Its Coffin is a more sinister, saturnine affair than their debut City Lights. Coffin was many listeners’ introduction to the Shadow Ring, who had hitherto self-released their music, courting a steady stable of international fans through the magazine and mail-order catalog Forced Exposure. For their follow-up, the duo reached out to the ascending Philadelphia label Siltbreeze, whose eclectic roster of sneering, low-fidelity rock and noise connected disparate subterranean scenes from rust-belt America to the English Midlands, Dunedin, and beyond. As luck would have it, Siltbreeze proprietor Tom Lax was already a fan of the band’s first record and arranged to release both a 7” and their “difficult second album.” The connection proved to run deeper than vinyl within six months, Lax would pick up the pair from the airport for their spring 1995 US tour. This episode marked not only their first trip to the States but their first live performances at all, formally introducing the Shadow Ring to the American underground and solidifying the allure of the Folkestone pair. From the get-go, the record has a menacing, vile ambience. Its opening track “Horse-Meat Cakes,” inspired by an anecdote by pulp author Philip K. Dick about how he and his wife subsisted off low-grade pet food when he first arrived in San Francisco, sets the tone lyrically and sonically. Subsequent tracks are filled with Rabelaisian body horror and sinewy, haptic diction. “I try to pass out vital organs, convinced that they are waste,” intones Lambkin in “Heart, Liver & Lungs,” before a chorus of detuned guitars kicks in, nearly drowning out the speaker’s account of consuming chevaline intestines. Later songs similarly detail vernacular cooking (“Caribbean Porridge,” about a cornmeal hangover cure), bodily processes (“Nocturnal Middle Rumbles,” about nighttime defecation), and creaturely conflict (“Crystal Tears” and “Spin The Animal Dial”). The album’s makeshift percussion and teenaged rawness resembles the verve of City Lights, while its screeching strings and gnarly distorted vocals give it a sparse, miasmic atmosphere that look towards the uncompromising, otherworldly experimentation of the band’s Hold Onto I.D. (1996) and Lighthouse (1997), making this one of the Shadow Ring’s most distilled musical statements

In the centre of deep space we tune in to the radio broadcasts from an old Class T interstellar spaceship. The emissions endlessly resonate the frequencies of the seventeenth release on the label HC Records by one of the titans of the Valencian scene, The Lost Boys, new pseudonym of the DJ and producer Raszia.

With releases on labels such as Bass Agenda, Subsist or Hxagrm Records, the artist mesmerises our senses with the Exiles of Mars Ep, available in both double vinyl and digital.

Syncopated rhythms are the protagonists across four original tracks together
with remixes by four electro legends: Boris Divider, Estrato Aurora, Dark Vektor, and Filmmaker.

The EP’s first cut is a remix of "Wall Of Bricks" by the legendary Boris Divider, which gives the track an air of crystalline, synthetic and cosmic sound, very much in line with his latest works on the Generative Operations series. Next, we find the original version, where the kick drums are heavier, the synths and basses more colourful and the acid sequences take centre stage in an odyssey of sidereal intensity.

On the record’s flip side, a feeling of overwhelming melancholy takes root in our soul. Valencian Estrato Aurora mentally transports us to the mysterious red sand of Mars in a precise exercise in symphonic minimalism with his remix of "Exiles of Mars", which mutates the original idea with velvety pads, synths and a slow and rapturous hypnotism that sinks us to unfathomable depths.
The Lost Boys' original concept on B2 is a combination of Miami Bass-style breaks and a demonic mantra-like main synth line, backed by what seems like an infinity of pearly effects and secondary melodies, pushing the track towards a crescendo punctuated by a dry and sharp snare.

The second disc’s opener "Bust My Moves" is a masterclass in deconstruction and reconstruction by Dark Vektor with his "Electro Escuadrón Remix”. The genius from Terrassa provides powerful lyrics loaded with a message about the modern rise of the 808 movement. We return to the original Lost Boys version on C2, a futuristic martial discourse takes shape with combating breaks combined with rave chords and brief episodes of respite, almost dreamlike, in the middle and end of the track’s exciting development.

On the D side, rough frequencies verging on distortion materialise through our ship's speakers as we pick up the Colombian Filmmaker’s remix of "Data Recovery For Brains". A psychotronic final appetiser that combines harshness and elegance in the use of the rolling kick drums and saturation of the sound, it is without a doubt the ideal soundtrack to narrate the collision of two galaxies. The closing of the EP features the original track, in which The Lost Boys show us his most mental and lysergic side as the track progresses along a slow and comforting broken rhythm, made dynamic by clever use of diverse acid sequences and clairvoyant stellar melodies.

The complete artistic experience is enhanced in all dimensions with accompanying artwork by
Daniel Requeni and videos elaborated by Frank-F.

Mastering as usual by Steve Voidloss at Black Monolith Studios in London (UK).

Spiralling through the space-time continuum, Alberta Balsam's debut EP amalgamates clipped breakbeat with lithe IDM and sawtooth electro. Inspired by the visionary author Ursula K. Le Guin, the vinyl is presented by Dekmantel Records together with a transcendental sci-fi narrative. Printed on a poster-inlay designed by British artist Alex Morgan, the story tells of a quest for survival on a planet ravaged by ecological collapse.

In a bid to rescue all lifeforms from impending destruction, a lone holobot frantically consults her neurobiological interface. Humans can no longer subsist on Earth: waterways are contaminated, and the unbreathable atmosphere has taken on a toxic purple, almost holographic hue. Faced with environmental apocalypse, she turns skyward, to take root among the stars. With nods to the utopian futurism, attunement to nature and alien visions of pioneering electronic artists such as Drexciya and Delia Derbyshire, Alberta transmutes a synergy that's entirely her own. Higher Dreams journeys elsewhere on a passage that's equal parts intergalactic and introspective, questioning how, on the brink of the abyss, we can find hope.

Blasting off the A-side with 'Atuan Tombs' – a reference to Le Guin's masterful Tales From Earthsea series – a cyborg voice narrates plundering through the skeletal remains of an urban landscape. Hollowed out kick-drums thunder in 'Cascade;' glitched-out beats that shatter into incandescent, intricate melodies. On the B-side, the titular track crescendos, it’s biblical vocals conveying the gravitas of an approaching dystopia. Yet Higher Dreams is far from doom-inducing – the EP closes off with ‘Suspended in the Manifold,' the vibrant Roland TR-808 rhythm fuelled by the colossal power of a solar flare.

Renowned for her live hardware-based sets, Alberta flexes her immeasurable skill as a tech-savvy producer adept at constructing danceable, yet simultaneously lush and expansive interludes. Having trained as an epidemiologist, the theme of care reverberates through her music. Crucially, she regards dance as medicine – a primordial remedy to sustain our interconnected existence.

Blue Vinyl

We continue our sonic adventure with Blovk, producer and sound designer from Madrid, he has refined his musical idea with his peculiar way of understanding techno and electronic music in general.
Releasing on labels such as Awry, Subosc, Postdynamic, Subsist, Doppt Zykkler, MainConcept… and his own imprint, Outside Noises.
In our XL series we want to showcase every corner of our artists’ sound spectrum. We are not just commited to raw and direct dancefloor weapons, we are also aiming the mind of the listener.
To make attemporal electronic music is one of our objectives and this record in particular deserves a place in the list of music to be played loud when all this nightmare finishes.
First cut on wax is Of sleep and tears, an emotional title that describes a dronney atmospheric introduction. Beatless, textured, full of resonant details and space wind.
Pouring Flesh brings the beat to the scene with a clear bass drum and a shuffled bassline setting the patch to martian synth noises and stereo details, all enclosed in an intelligent structure full of subtle twists and hypnosis. The thinking hand combines synthetic details with precise beats on a progressive arrangement.Elements come into action wisely, pulsating electronic grooves fighting with floaty elements make the recipe. Fluids above the skin open the B side in a darker mood. Heavy sub bass action and profound synthesizer lines setting the mood for what comes next.
Shedding machines acts as an ambient interlude in similar coordinates as the first cut in this mini LP.
Closing the release Fluent Gods, an electrified mental dance workout using a similar sound palette as the previous ones. Detailed and precise sound design ranging from sharp asymmetrical sequences, ethereal textures and profuse bass frequencies.
Music by Blovk, text by Hd Substance

* Mirae Arts presents Hush Residence. We are joined by old friends and new comrades from the Kantō underground.

* C-Kay is co-founder of the Tokyo-based collective Space Baghdad and resident DJ of Constant Value. C-Kay is typically busy shaking dance floors with her hypnotic DJ sets, but also producing music for experimental labels such as Subsist Records and Constant Value Records.

* Saraam is a Tokyo-based sound artist, performer, and DJ under the Constant Value banner. Saraam is also a resident of the yearly Tokyo Festival of Modular.

* Katsunori Sawa and Damaskin return to Mirae Arts in their usual noisy disguises.

* Hush Residence is a compilation featuring four experimental techno tracks from Katsunori Sawa, C-Kay, Damaskin, and Saraam. Mastered by James Plotkin.

* Artwork illustration is done by Sydney based architect, Patti Bai.

* Vinyl pressed at the highly reputable Gotta Groove Records, Cleveland, Ohio.

* Comes with polybag packaging

Aperture records has always been about discovering new artists and bringing them to the forefront and italy is well-renowned for its electronic music, both former and current. so, from one italian duo (t.e.s.o.) to another... introducing Diaster.
Diaster aka Teo & G grew up in treviso, listening to the most experimental music they could find in their small rural city near venice.
With Matteo inspired by metal and musique concrete and Gianluca a researcher of old electronic/instrumental music, they decided to experiment with their various experiences in house, techno and drum n bass, inserting strata of industry and noise into their material. after 'Enchantments', a debut ep on DVNTT which deserves more recognition, and an accomplished follow up on Subsist records; 'Final Beginner', aperture records brings you their latest contribution; 'Clustered Non Symmetry'.
On first acquaintance, this 8 track album appears on the minimal spectrum; monolithic and indivisible. tension builds slowly and influences, mostly of a similar vintage, come through. arrhythmic incursions of stark and contorted electronics conjure up a hesitant, stealthily-undermined delineative framework.

Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.

Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl.

Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore. Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born.

Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration.

It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!. Utlising Akin's in-house studio and production skills, alongside Chivers' jazz influenced outlook of improvisation over arrangement, the track took shape, mixing the live programmed percussion, heavy doses of phase, delay and reverb and Sun Ra inspired keys that resulted in a number of mixes of Massif!.

Collected here are the original 12" "Massive" and "Massing" mixes, plus a special live version taken from the "Live At The Brain" reunion gig of 2009. The sought after 1990 versions and original Live mix are taken a step further with this 13 mins + mix, in essence a resampling and remixing reversion with didgeridoo and live on mic MCing, that gives a real glimpse of those early live sets. With more Ramjac Corporation material upcoming and a live reel-to-reel show appearing soon, the return of Cameroon Massif! is now.

"Ode To Eskapism" is dedicated to all of those that use techno as a way in to escapism. To those that use techno as a mental diversion from the perceived unpleasant, boring, arduous, scary, or banal aspects of daily life. Those that cannot subsist on the scanty satisfaction they can extort from reality alone. Those that feel the need to dissociate from reality in order to experience it. To all of those that emerges recreated, stronger and full of life after a weekend escape into techno.
The label Bond is the brainchild of Swedish techno DJ and producer Petter B. The concept of the label is "music by DJs for DJs". The label focuses on releasing tracks that enable the DJ, rather than the producer, to be creative. It is based on that special bond which is created every time a DJ combines tracks, loops and sounds live into something new and unique.

Consider this a warning - tearing out of 2015 on the gale of our compilation with the legendary duo of Jeroen Search and Dimi Angeli´s carrying us on their winds into 2016, Chronicle steps into the eye of the hurricane for its second release this year, by the mighty Mike Storm. A xture in the Dutch techno scene since the late '90s, it was when Michael de Winde moved to hardware live sets that he found his true inspiration, continuing to this day
to use only analogue equipment in his restless search for techno perfection. Consistently released since 2012, initially on Subsist, a label notable for
early work of SHXCXCHCXSH and Stanislav Tolkachev, he then moved on
to respected underground sources such as Ars Mechanica, Orbis Records, and Belief System, where he released his 2014 album 'Pulsars'. Supported by Mills, A&S, Arnaud Le Texier, Tadeo, Antigone, and others, we are proud to give Mike Storm the twelfth entry in the series with 'Where the WolvesCome From'.

It begins 'At Certain Points', channeling the jazzy mid-2000s Mills of his most abstract era with subtle string swells, cosmic bleep patterns and equally subtle Detroit-style percussion lls. 'The Day We See' moves into morning, with its complex, melodic bass gures and shimmering strings taking
the nocturnal intro into morning following a tense lead line that enters.
Again referencing Detroit but falling closer to the dystopian feelings of contemporary Terrence Dixon, 'New Light' is an exercise in tension between taught drum lines, dissonant keyboards, and a metallic sequence pattern. Stripping down for the hunt, the title track stalks more aggressively, razor- sharp hats and growling bass accelerating as the predator closes in on its prey, an eerie forest wind bringing terror in its path until the final struggle.