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Andre Bratten was born in Oslo and grew up in a suburb of the Norwegian capital, which borders on the deep, dark Scandinavian forest. Like most kids in the late 1990s, he was bitten by the hiphop bug, but he also got turned on by the Led Zeppelin records he picked out from his father's record collection. He's broadminded enough to be into everything from the Norwegian electronica masters Røyksopp to Metro Area, Sigur Rós, Eno, Cluster and Weather Report. Currently dwelling in the heart of the city, his efforts with the synthesizer coincided with a huge boom in Norwegian electronic music, his productions recently came to the attention of Norwegian 'cosmic disco' mogul Prins Thomas and his Full Pupp colony. Andre's tracks share the exploratory vibe of the 80s synth pop pioneers, and misfit electronic pop musicians like John Foxx, who were forced learning to sculpt new sounds with new tools. Yet he updates those sounds to a contemporary rhythm matrix, in parallel with the dayglo analogue dance music of Lindstrøm, Todd Terje and Prins Thomas himself - and he just happens to share the central Oslo studio space used by that glorious trinity. But Andre has always known his own mind and was never going to be content with being just another anonymous insect in the logpile. So his debut album, Be A Man You Ant, is a string individual statement, his 'I am Spartacus!' moment. It computes almost infinite variations on the sounds he could extract from a single modular synthesizer - 'the limitations are inspiring', he says. So you'll find squelchy bugs in the bassbin, weird analogue squeegee smears, bright drum machine splats and the occasional significant pause. The spaces in his music are at least as important as what fills it.

Group Rhoda is the solo electronic music project of Mara Barenbaum, based out of Oakland, California. The project started around 2009 with a debut album 'Out of Time, Out of Touch' in 2012 on Night School Records and '12th House' in 2013 on Not Not Fun. She is also one half of Max and Mara who released the album 'Less Ness' in 2013 on Dark Entries Records. She is committed to live performance, situated within the analog synthesizer and drum machine medium.

'Wilderless' is Group Rhoda's third full length and first for Dark Entries Records. Each of the these 7 songs draw forth tones of tropical darkwave and soft industrial, while negating the sound of conformity and control. The album explore themes of societal and spiritual displacement, contemporary serfdom, the depths of empathy, regeneration through destruction, and the tyranny of claiming recognition and power. Lyrics are poetically expressed through allegory and explore archetypes rooted more in abstract observation rather than hard line experience. Through transgression and imagination, Group Rhoda explores the arc of songwriting interwoven into stark electronic environments, and creates a bridge between the corporeal and the dream worlds.

Each song was mixed by Mark Pistel at Room 5 in San Francisco and mastered by George Horn at Fantasy Studios in Berkeley. Each LP is packaged in a jacket featuring a colorful custom made collage by Hugo Barros and includes a full color sticker and digital download card.

Dark Entries and Serendip Lab have teamed up to release 'Prototech', the first vinyl retrospective by German electronic trio Hypnobeat, recorded 1984-86. James Dean Brown and Pietro Insipido formed Hypnobeat in 1983, but it was the addition of Victor Sol only a few months later that found the project reaching, as Brown puts it, "the desired level of technical sophistication." In time, Tobias Freund also lent his talents (and equipment) to this loose-fit sonic scheme, where the protagonists sought a new, electronic manifestation of mankind's tribal music roots. Two cassette releases surfaced - 1985's "Huggables", and "Specials/Spatials" the following year. By this point the Frankfurt-based group had already explored fiercely mechanical creative expression through various configurations of hardware and personnel, revolving around core ingredients such as the TR-808, TB-303 and MC-202. The project lived on in spirit as Brown activated Narcotic Syntax in the 90s. While a more modern, digital concern, rooted in the Perlon label family, NS still channeled the Hypnobeat concept of a "new tribalism", not least on their "Provocative Percussion" double 12" released in 2006. For all the punky veneer, there are instances where these tracks reach staggering levels of sophistication, not least on "Slash! Buffalo Eats Brass" with its intricately programmed 303 lines and nimble beats that sound a far cry from most machine music made in 1986. Prescient "Can God Rewind" is also dazzling in the complexity of its percussion and the richness of its synth lines in C as they throb out a bastardised version of acidic Disco straight out of the rhythm collider. Elsewhere, some tracks are more primal in their execution. Visceral opening track "The Arumbaya Fetish" was a cathartic venting of Brown's least favourite sound on the 808, the iconic cowbell, while the astounding proto-Acid miniature "Moon Jump" places limber 303 lead lines in a hail of thunderstruck patterns. "Kilian" has a stripped down quality that speaks more to the industrial era that Hypnobeat was conceived in, and "Mission In Congo" is a raw, reverb-soaked drum workout that captures the percussive-obsessive nature of Hypnobeat perfectly. Six of the seven tracks selected on this collection were primarily powered by two 808s. "I am amazed that the release sounds like we really had a plan back then..." states Brown, but this accidental magic is in fact the raison d'etre of Hypnobeat. They weren't the only ones prefiguring the next big revolutions in electronic music in the mid 80s, but there certainly weren't many artists stumbling across modes of expression that sound so relevant today.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a jacket featuring cave engravings by Pietro Insipido of an archer and animal printed in a wallpaper pattern style designed by Eloise Leigh. Each copy includes an transparent insert of an x-ray photograph from 1984 of Romulus Cœurque holding the circuit board of a BOSS DR-55 rhythm machine.

Eight releases in, Leonidas & Hobbes have honed a mutual love of soundtracks, disco, jazz, house, techno, acid, psychedelic, African and dub sounds.
Web Of Intrigue is one part tribute to lost 70s soundtracks, when music was created on the finest analogue hardware, featuring full bands, session players and lush orchestrations, one part tribute to 70s disco gods Nile Rodgers and Bernard Edwards (Chic) and one part mid-tempo but nonetheless cosmic house. The three parts fuse to form an instrumental track sounding as fresh as a whole meadow of daisies in 2017 and one that's been going down extremely well with international DJs who have road-tested the material.
Heavy Weather flips the script for a deeper workout in a 3/4 time signature - more of a cosmic waltz. Taking its main cue from 70s jazz fusion heroes Weather Report and The Doors' Ray Manzarek, it incorporates rich African percussion, spaced-out flourishes exhibiting the duo's love for the dubs of Lee Perry, King Tubby et al, and a good old fashioned arpeggio of an acid line - definitely a more esoteric number, all told.
The 'Dawn' and 'Acid Rain' mixes push different buttons for the heads, as suits the mood. It all adds up to a very Balearic confection, fitting snugly in with the burgeoning revival for this somewhat ineffable sound - a trend that seems to be getting stronger/bigger every year, popping up every time the sun gets his hat on and we all remember how to party like the lucky residents of that infamous White Isle....
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London/Edinburgh analogue electronic duo Leonidas & Hobbes released debut EP "Machines, Tapes & Electronic Setups" via the Hobbes Music label back in May 2013, picking up plaudits and support from the likes of Resident Advisor, Mixmag, Erol Alkan, Ashley Beedle, Alan Braxe, Shadow Child, Jimpster, Nick Warren, M.A.N.D.Y., Leftside Wobble, Mr G, Auntie Flo, Sasha, John Digweed and many more... The duo were consequently commissioned to remix the Pet Shop Boys.
Second EP "Mo' Machines" came out on the label in April 2014 and received equally high praise, with i-D Magazine inviting the duo to record a DJ mix which has to date chalked up a whole lot of love on Soundcloud.
Leonidas has released two other collaborative EPs with London-based Japanese DJ/producer Kay Suzuki via his Round In Motion imprint, equally winning fans worldwide, with a track now forthcoming on new label YAM Records' You And Music Volume 1 EP plus much more in the pipeline for 2017. Leonidas also has his own lovetoparty label, releasing edits of much-loved disco tunes on limited edition 12" vinyl format and free download. Previously, Leonidas made a name for throwing word-of-mouth parties around east London on his audiophile 'lovetoparty' sound system (providing some of the inspiration for much-admired late-night watering hole Brilliant Corners).
Equally, Hobbes ran the widely acclaimed Trouble nights for ten years in Edinburgh/Scotland, working with the great and the good from across the soul/jazz/dance spectrum since '02, and championed up-and-coming live talent via his Limbo 'gig-in-a-club' nights at The Voodoo Rooms for nine years since '07. Hobbes has toured his DJing style to the various corners of the dancing planet, including gigs in the Far East, much of Europe and across the UK. The Hobbes Music label has otherwise featured artists as diverse as Auntie Flo, JD Twitch (Optimo), Neil Landstrumm, Craig Smith (6th Borough Project), Ali Renault, iO Sounds, Joe Howe, Debukas, Fudge Fingas, Marco Bernardi, Dimitri Veimar, Mick Wills and Nightwave, with further support from Ben UFO, Justin Robertson, Motor City Drum Ensemble, KiNK, The Revenge, T.E.E.D, Kiki, Groove Armada, Maceo Plex, OOFT!, Domenic Capello (Sub Club), XDB, Ben Mono, Masa Sutela, Bawrut/Scuola Furano, Numbers, John Heckle and many more...

Circus Company and The Mole have long been making eyes at each other across the same crowded dancefloor. Colin de la Plantes primary project is synonymous with the off-kilter corner of house music we like to spend our time dancing in, and the labels he releases on are close cousins of the Circus troupe. From Wagon Repair to Philpot, Musique Risquee to Perlon, its a wonder that we havent worked together previously, but finally thats been put right with Little Sunshine. Stripped back, understated disco grooves have always been the bread and butter of The Moles sound, while infectious, cyclical melodic patterns are equally important in making his unique version of house music. On the title track, those elements are presented with full force, but in between the driving rhythms linger the most gorgeous keys, bringing a mellow introspection to the track as a neat counterpoint to the energy of the drums and arpeggios. Compared to the clean lines and peppy tempo of Little Sunshine, Discotheque Airplane is an audacious swerve into low and slow territory, where dusty samples rule the day and the bass swells in and out of earshot with a truly mesmerizing effect. Its a moody affair loaded with tension, mystery and funk in abundance. As if that wasnt enough proof of the variety in The Moles repertoire, on his collaboration with Dutch hero Tom Trago for Down The Hallway we find the pair exploring lean, focused techno, where the simplest of rhythms propel a haunting, distant vocal lick. Its the drum sounds that make this a special cut, championing warm, natural percussion instead of the methodical drum machine hits found in most contemporary techno. Rounding the EP off in a beautifully mysterious style is Aardvarck, whose remix of Down The Hallway take

Dalmata Daniel's next up is a collaboration with the Bristol-born - weirdo disco guy' Antoni Maiovvi and also a contribution of Heinrich Dressel who is an unavoidable column of Rome's electronic music scene.Maiovvi's Pleasure Model project is all about youth - replaced by Blade Runner-esque replicas. His first release under this moniker was - Kendo Dynamics' on 100% Silk in 2016. It aimed for presenting a persuasive world of fiber optic paranoia and technoid effacement.DD006 is the next level of the concept and the first time on vinyl. The tracks are driven by the characteristic haggard drum machine's sound on side A with a melancholic or dark synth themes what becomes a dreamy melody in the - Prism Riot' on side B. The remix by Heinrich Dressel is a turn back directly into the darkness, but it is faster and more like a film soundtrack with his own characteristics, of course. The whole EP has a strong vintage mood and sound.
It can be said that Update 1.1 is definitely dystopian, coming from the future of our past.

Another amazing exercise by Thee J Johanz! In R U There In R U There he's exploring the capabilities of the Russian/DDR Vermona synth for a massive brutal lead on a rocking 808 beat, with driving italoesque arpeggio's from the Jupiter 6. Having it's special moment in an unanswered synthesized ring tone, enhancing the haunting suspense. In K Clap West he lets the Moog modular sing like Kanye West, supported by the ancient Roland CR 8000 drummachine. Sleazy analogue goodness, slapping asses with the nasty clap. Sex with machines. More Cowbell! is just what the title promises. An orgy of live tuned cowbells, recorded in one take with his beloved modded CR 8000, it's a perfect atonal mixtool to add some uplifting madness and excitement. Sleeve art by David Homan and Thee J Johanz himself.

Early support from DJ Hell, Prins Thomas, Simeon Mobile Disco, Audio Soul Project, Severino Panzetta, Tensnake and more...

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

Camea returns with the third release on her Neverwhere imprint, titled 'Vanish', this Spring. In her new single, she digs deep on her drum machine into Studio 1-esque territory, using alluring classic minimal techno grooves as a back drop for her seductively soulful, selfconflicted vocals. Camea not only captures a timeless micro-house vibe in this piece, but she continues to push her sound forward as well as her love for avant-guard techno. Up next is Delft imprint boss, LA-4A, best known for his analogue vintage Roland drum machine productions. He has laid down an irresistible 303 break-beat club mix of Camea's track in the A2 spot. His dance cut of her vocals over bass driven percussion is a perfect counter piece to the original, and compliments the sound from his recent acid techno album 'Phonoautograph'. On the flip side, Berlin techno legend and Ostgut Ton/Berghain resident Tobias. gives his graceful interpretation. He has reworked the original into a tasteful, dark, spacious 8-minute minimal techno piece, with percolating panning and filters on the vocals. As usual with Tobias., he clearly conveys his undeniable expertise and instinct for exquisite dance music. With this release, Camea is also marking the 2nd anniversary of her cult Neverwhere Radio show this Spring, having produced twenty-four, two-hour episodes with exclusive DJ mixes and guests. The show currently has residencies on Digitally Imported, Tsugi Radio and Ibiza Sonica, and Camea has quickly established herself as a driving force in the left-field techno community, and a passionate advocate of underground radio.

The long-awaited second installment of Route 8 & S. Olbricht "Selected Works" has arrived! Drenched in layers of the classic synths and drum machines of bygone eras, the Hungarian combo delivers a fresh testament to the power and warmth of analog production....."Selected Works 2" features some of the best cuts from their previous effort for Go! Finger, including "When I Pictured Myself", the banger "Horriflowers", "Nirrimi" and "Strobes". Mesmerizing deep analog material. Raw and physical sound at it's best..A must have! Available on 140 gr vinyl.

Ukranian techno label first vinyl release

A strange confluence of sound that sounds part Krautrock synth label Brain records, part Hyperdub.   Techno haze and synth wormholes with spectacular sound design that has banged at Berghain and soundtracked winter night drives.

Greenspan is known mainly for his work with Junior Boys and Jessy Lanza and Taraval is a longtime touring member of Caribou, but both have released several 12' and EPs of electronic exploration over the past few years. 

Inspired by synthesizer minimalists like JD Emmanuel, Cluster and John Carpenter, the two attempted to create a type of dance music with hardware that was indebted to their influences but did not feel intrinsically retrogressive. The idea was to make a type of raw synthesizer and drum machine music that could be listened to beside the hypermodern techno of Pearson Sound or Actress.  

The cover art is a tribute to a mysterious mural that looms over the Hamilton Ontario area where the album was recorded.
Each of the five tracks on the EP were edited down from much longer recording jams which were done with hardware sequencers in real time. The recording was done completely off the floor with no overdubs or added material after the fact. As this release might appeal to synthesizer hobbyists and enthusiasts it seemed appropriate to compile a list of the instruments used in the original recordings. they are as follows: Arp Odyssey  Pioneer Toraiz SP 16 Eurorack Modular System Roland JX8P DSI Tempest Simmons SDS8 Roland SH101 Roland Jupiter 6 Yamaha CS50 Oberheim OBXA

Shoc Corridor was the London post-punk quartet of Paul O'Carroll (Voice, Synth), Andy Garnham (Synth, Drum), Chris Davis (Guitar, Bass, E-Bow) and Nogi Prass (Synth) named after the Sam Fuller film from 1963. Chris met Nogi shortly after moving to London in 1979 - they started playing music together, fell madly in love, and decided to form a band. They recruited Andy, who had previously played in a band with Stephen Luscombe of Blancmange, and lyricist and vocalist Paul. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Brian Eno, PIL, and Joy Division.

The group recorded a 4-song demo during 1981 in a tiny flat Chris shared with Nogi in Notting Hill. As their collection of instruments grew they set up studio a few blocks away in Andy's flat at 20 All Saints Road. There they re-recorded Sargasso Sea' along with On Reflexion' on a TEAC reel-to-reel 4-track machine. In the summer of '82, the band was booked into Decibel Studios in Stoke Newington for two and a half days with Mark Easton of Shout Records, where they reworked the two songs. The group usually worked through studio experimentation rather than constructing their songs in a conventional way. Their equipment list included a Korg MS-20, Wasp, Pro-One, Roland TR-808, WEM Copicat, guitars, bass, e-bow and an assortment of effects pedals. On Reflexion' began as a Blancmange backing track, since Stephen Luscombe would sometimes use Andy's 4-track, Korg MS-20 and drum machine. Chris has memories of Paul disappearing from time to time to the neighboring graveyard for inspiration, where they had to procure him from to lay down vocals. Their debut 3-song 12' single, A Blind Sign', was released in October 1982 on Shout Records. For this re-issue we've included the original skeletal Sargasso Sea' 4-track demo from 1981. Evocative and dreamy, the music escorts you on a tour of icy landscapes, with Paul's rich vocals guiding the way.

All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each EP comes in an exact replica of the original jacket, designed by Chris Davis with artwork by Paul and Jerry Neal. Each copy includes an 8x11' 2-sided insert with liner notes, lyrics and photos designed by Eloise Leigh.

last year producer and dj eddie c released his third endless flight album 'on the shore'

- a compelling musical trip of drifting repetition in rhythm and melody.
now he drops a new ep, consisting of three new track and 'auf der ufer' - a tune he did with his norwegian buddy rune lindbaek, that is dancing a cosmic dance and that was never released on vinyl before.
the three other works are crossing different territories. the eight minutes meditation 'pumapunku' marries balearic flair with otherworldly synth-spheres.
the also epic 'inner piece' opens the house box with waving basslines, furious chord suspense and some unexpected breaks.
the final is marked by 'lonely without you'

- a funky blue tune that brings in some peoples potential unlimited vibes for endless autobahn rides.
another heartfelt arranged mix off instruments, synths, samples and drum machines by eddie c, the heartfelt canadian in berlin.

Myers returns, fresh off the back of a debut show at Field Day and with a two track 12" nodding to the past and the future.

'Taps' is a relentless drum machine driven, synth directed monster, that comes at you like it's about to punch you in the face, but actually picks you up and chucks you on its shoulders. 'Rabona' is a restrained, smooth but rugged roller, with subtle shifts that previews another layer to the Myers palette. Having taken steps out into the real world, expect a lot more to come over the next year

Dark Entires is honored to reissue the long out of print debut album Elevator to Eden by LIVES OF ANGELS. Lives of Angels was the brainchild of GERALD O'CONNELL from London, England. In 1974 he worked at CBS studios mastering recordings from tape to disc. By 1977 he joined his first band MYSTERY PLANE, led by school mate Mark Harvey and later joined by his soon-to-be wife Catherine. Gerald branched off in 1980 forming Lives of Angels as an outlet for his own compositions. He recorded, produced and played all of the instruments on Elevator to Eden' between 1981 and 1983, using a primitive set up of drum machines, one keyboard, guitar and a tape echo. Influenced by the Krautrock sounds of Neu! and Amon Duul II as well as US psychedelic rock, Lives of Angles crafted their own unique post-punk sound. Elevator to Eden was originally released in 1983 on cassette by Color Tape Records, the label started by Gary Ramon of Modern Art. Then in 1986 Fire Records remixed and re-released the album on vinyl but the band was not happy with the mixes. This reissue features the original 4-track cassette mixes of Elevator To Eden on vinyl for the first time ever. The LP includes 9 songs featured on the original Color Tapes release. All songs have been remastered for vinyl by GEORGE HORN at Fantasy Studios in Berkeley directly from the original master tapes. Each LP comes with unreleased photos, original artwork and a lyrics for all songs.

Dark Entries present the sophomore album from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. His debut album 'Meditations/Industry' was released on cassette in 2013 and edited for a vinyl release in January 2016 followed by two 12' singles 'Warehouse Invocation' and '7 of 9' the same year.

'The Shape Of Things To Come' is a 70 minute journey spread across two pieces of vinyl. It's comprised of seven tracks recorded directly to tape with no overdubs, made at Converse's home studio. At the time of recording, Bill was sending this material to Josh Vance (Josua Dorje Ngodup) for feedback. Most of the time Josh would respond in the form of artwork, and then Bill would create another track inspired by this feedback chain. Converse has dedicated this series of tracks to him. The songs on this album reveal a sublime influence from Detroit techno, early Chicago house, and Acid. For this album Converse slightly bumped up the tempos geared for dancefloor energy. Built around vintage synthesizer lines and gritty drum machine percussion, the tracks evoke how things have changed and how they have come to be.'

All songs were mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a gatefold jacket with a painted photograph portrait by Dietmar Busse and layout design by Eloise Leigh. The gatefold conceals an otherworldly collage made by Josua Dorje Ngodup. Each copy includes a postcard featuring artwork from Bill's sister with notes.

Here comes Argoman, the antihero of disco music. Inspired by the 1960s b movie super hero Argoman, the name literally means lazy man, however it's also a combination of three Italian producers' names, who started the project about one year ago. The track Chimicalissimo merges the vibrant rhythms of disco with the emotional approach of modern electronic music. It's a peak-time dancefloor banger completely produced with analog synths and drum machines. The tune is a proper voyage between syncopated rhythms and heavy basslines soaked with synth melodies that often recall IDM progressions. The dub version gives more space to a melancholic piano melody that culminates through analog arpeggios to an unstoppable build. Black Spuma remix finally turns the track into a slow burning disco monster.

INCL. HIVER & CLAY WILSON REMIXES

Drawing on a pedigree of lush synth experimentation and cutting drum arrangements, Alfredo Mazzilli has been pushing his own brand of hypnotic techno over the past several years, charting releases with Lanthan Audio, Weekend Circuit and Edit Select. Now, Blankstairs is proud to announce the first U.S.-based release for the Italian producer with Vanaheimr , a pair of new tracks coupled with remixes from Clay Wilson and Hiver.

Mazzilli's work takes a considered pathway that walks the line between form and function, pulling his thick landscapes of synth wash and melodic punctuations through cutting rhythm tracks that owe as much to classic drum machine workouts as the dub-techno stalwarts that he frequently draws on here. Sculptural precision and rhythmic development work in tandem here, giving each track a shifting framework that seems to never touch down in the same place twice.

It s best seen in B-side Njord , a full-on assault of staccato kicks and flickers of percussion elements fleshed out with a series of short, repetitive pads, and washes of reverb, that create a meditative progression of interlocking textures. A similar approach defines A-side Vanir , where a lighter series of synth arrangements are woven through a driving, hypnotic rhythm that offers a fitting counterpoint to Njord's brutal kick patterns.

These are tracks about patience and concentration, allowing the slow, coursing process of the track to take center stage, turning the track into a negotiation between its functional, rhythmic ground and the high-mind ephemerality his arrangements conjure. A pair of remixes join Mazzilli's compositions, with The Bunker New York/Styles Upon Styles alum Clay Wilson twisting Njord towards a more balanced, rhythmic pacing, while pushing its hissing electronics towards a more caustic frequency range. On the A-Side, Hiver draws rhythmic cues from 90's house to turn Vanir into a trance-inducing sunrise groove.

Hemlock founder Untold is back on the label with his first vinyl EP since 'Doff' on sub-label HBLK back in 2015. This release follows appearances on last year's #savefabric compilation, and more recently on 'Magic City III' compiled by Mixpak boss Jubilee.

HEK029 follows a rewarding period of A&R for Hemlock that has so far delivered EPs from Bruce and Parris, with several more scheduled to drop throughout 2017.

This EP's two winding tracks are a natural progression from the fiercely textural drum work of Untold's previous singles and album 'Black Light Spiral.' Here the material is given more space to breathe and released from the grid creating a lighter more footloose feel.

'Tear Up the Club' carries the weight of DMZ era half-step using a loose web of elasticated breaks and builds to reveal a striking melodic line.

On 'Watton Res' exotic tones are further compressed and expanded in sequence, encasing drum machine, keyboards and guitar work within a delicate shell.

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

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

The 12th installment in the Falling Ethics series is an adventurous piece of work.
Tensal and P.E.A.R.L. team up on this split EP to showcase their production styles which are mainly
built around crafty drum loops and buoyant synth experiments.

Tensal takes care of the A-side where he takes care of one flaming Techno cut for the dancefloor which is followed up by two adventurous pieces
of electronica. P.E.A.R.L. also took care of three cuts on the B-side. The opening track ''Joy Of Rapture''
is a straight forward demonstration of machine heavy Techno.
''Fall Before You'' is a deep and soul wrenching cut that showcases P.E.A.R.L's more delicate side. Red Flame is a piece of horror reminiscent ambient.

GOMORRA

Gomorra is a passionate DJ and producer from Basel, Switzerland. As an 8 year old boy playing the drums he realized that music might play a bigger role in his future life. After a while, he got his hands on the first pair of turntables and started to experiment with mixing HipHop music. Experiencing a broad variety of music and nightlife culture during those formative years he developed a deeper interest for driving rhythms and repetitive patterns. Soon he got pulled into the pulsating scene that emerged nearly 30 years ago in an industrial and rough urban area at the shore of lake Michigan well known as Detroit, the Motor City. As he already made his first steps in music production while digging HipHop, the obvious development then was to exchange the MPC with Synths and Drum Machines and explore the aesthetics of Techno on a much more profound level.

OMNIBUS IDEM

Omnibus Idem - we are one. The Saga begins. We inhabit each moment to be our own good morning. Everybody else is the same in a different ghetto. What happens when all awareness overlaps to create an Ambient. After dawn in the subway. Submission. A new impression: St. Clair. Where the mechanic meets the organic. To end up alone in suffocation. Buena Noche. Omnibus Idem is process and creation.

It is summer time in Nang land which means the dials are being set to Balearic. Step forward our all-around good chap, friend and producer buddy Pete Herbert. He has teamed up with Bali based musician and keyboard player Martin Denev to deliver an album of the finest Bali-inspired Balearic House. Hot and balmy evenings here we come.

Recorded on the tropical island of Bali, the album swings from Balearic grooves, to sun-filled terrace house, seaside electronic and swimming-pool funk. We open up with "Batu Karang", summery key stabs, lazy drum machine set the album tone hot, low-slung and swimming in positivity. Things take a more electronic turn with "Time" with its twisting synth-lines and locked on sun-drenched groove.

House music royalty Robert Owens swings by the cabana for a very special guest vocal appearance on "Pass Me By" next. His smooth and powerful soulful vocal compliment the pool terrace house grooves and sneaky thumb piano. As ever, Robert does not disappoint. To close off Side A the title track "Made In The Shade" gives us a slice of Nu Disco summer swing with funky strat and more cowbell of course in for good measure.

The flip side of the album opens up with a hands in the air terrace anthem. House pianos, punchy synth hits and beach disco groove all the way. "Sun Fish" takes things again in an electronic direction. Meandering lead synth lines, walking synth bass giving the perfect back drop to this island hopping anthem. Recent single "Night Boat" is next. Darting firefly arpeggios and lush keyboard layers prevail here. We end on a high with the up-tempo Gamalan inspired "Ruby Star" sending us out on a ocean deep wave..

Welcome to Nang Balearic airlines. Your pilots Pete and Martin hope you enjoy your flight.

- Warren Hampshire from The Bees teams up with pianist Greg Foat

- Recorded with full orchestra all anolog to tape

- Mixed down on fully analog desk from tape direct to the old Sun studios 1/4 Valve tape machine.

- Hand made paste back sleeve with 60s style gloss finish.

- Mastered from Tape direct to lathe at Timmion Cutting Studios Finland.

- Sleeve notes by Bob Lind

Multi talented UK Jazz Pianist Greg Foat has teamed up with Mercury Award nominated "The Bees" member and multi instrumentalist Warren Hampshire to collaborate on a new LP drawing on their diverse musical influences. Classic British library music, 60s Italian soundtracks & lost Americana combined with touches of modern classical, minimalism, Jazz and Folk. Featuring many members of Greg and Warren's previous bands and one of the U.Ks finest Jazz drummers, Clark Tracy, the LP also features an Edinburgh orchestra and soloists hand picked and scored by the boys. Recorded all analogue onto 2" multitrack in Edinburgh, mixed down by Mattias Glavå at his studio in Gothenburg, Sweden then mastered and cut in Helsinki, Finland, it's truly a European affair flying in the face of the brexit nightmare. Release June 2017

Fire in the hole! Luca Agnelli's Etruria Beat hits its 40th release and it's a truly historic affair with two very top remixers : Slam and Truncate! Now seven years deep into the label's innovative techno trip, Etruria has made nurturing exciting new Italian talent one of its key signatures. Bastinov, Dast, Reform, Kaiser, Diego Amura and Toms Due are just some of the progressive creators Etruria have supported over the last two years alone. But for this release it's down to the label bossman himself... And he's made sure it's a deeply Etruscan affair. Released in the wake of his mass-scene-supported 'Metamorphosis' EP and building on a body of work that boasts tastemaker labels such as Soma, Drumcode and Planet Rhythm, Luca lays down two slabs of absolute dynamite that not only bang, but also tie his sound, vision and inspiration back to his deepest roots with rich mythology... 'Voltumna' pays homage to the supreme god of Etruscan people. Not just in name and honour, but also in its powerful dynamic and touching balance of shades thanks to its atmospheric, rhythmic chord. 'Aplu' continues this spiritual theme with a dedication to another Entruscan divinity. An offering to the god of thunder and lightning, once again it lives up to its name with a barbed rolling dynamic that suddenly cracks open into a cosmos of light and emotion before hurling you back into the dark drum drama. Thunderous isn't the half of it. It comes complete with two exceptional remixes of 'Voltumna' by Slam and Truncate. Soma bosses Slam add their signature Glaswegian grit with distorted textures that loop in a hypnotic frenzy while Truncate strips the groove back to a jacking dynamic that becomes progressively bouncier with raw machine funk insistency. Across the originals and remixes there's not a corner in techno that isn't exceptional

Alek Stark is responsible for some of the finest boutique vinyl releases available. His 808 boxes, DMX drum machine replica and plexi-glass sleeves for Fundamental Records are legendary in the electro fraternity.

Stark's attention to detail in everything he does is particularly apparent in his music - his tracks are all first class analogue electro. He pulls no punches on this E.P. with heavy 808 percussion alongside a myriad of modular noise and synth workouts.

Cold, robotic and reminiscent of early Psyche / BFC with deep chorused pads creating an off-world dystopian theme that runs throughout this release.

Deconstructed royal-court music from the forgotten kingdoms of the Buganda, reconstructed electronic wedding music, fluorescent pink African pop, crunched 8-bit drum machines and a 10-foot long monster xylophone are just a few of the many sounds of Ennanga Vision.

This post-modern African soundtrack follows London producer Jesse Hackett's heady musical journey into the heart of Uganda - recording with chief collaborator, multi instrumentalist and singer Albert Ssempeke and featuring assorted vocal legends from the north of the country. The music blends a fully electronic sensibility with unusual, hand-crafted, African one-string fiddles, a 200-year-old harp and an enormous, group-played xylophone. It mixes traditional Ugandan folk songs and modern pop forms into a new PLASTIC ORGANIC VISION.

Hackett is influenced as much by the music of the African continent as he is by European electronic compositions and soundtrack scores. The sounds of hauntingly-dark vocoded vocals, crushed electronics, and poly-rhythmic drum machines sit alongside chiming African fiddles, rippling harps and children's laughter. He is a member of Owiny Sigoma band having sung on and co-written a lot of their work spanning three albums. He is also touring keyboard player for the Gorillaz and has released records on Stones Throw, Honest Jon's and DEEK Recordings, to name a few.

Albert Ssempeke is the son of a prestigious royal court musician who played in the days of the old Buganda kingdom - one of more than twenty five musical siblings, Albert is simultaneously an educator, performer and preservationist of this intricate and complex traditional form of music. Here he plays over ten traditional Ugandan instruments including Amadinada (xylophone), Ngindidi (fiddle), Endongo (harp), Ennanga (flute) and many more

Deconstructed royal-court music from the forgotten kingdoms of the Buganda, reconstructed electronic wedding music, fluorescent pink African pop, crunched 8-bit drum machines and a 10-foot long monster xylophone are just a few of the many sounds of Ennanga Vision. This post-modern African soundtrack follows London producer Jesse Hackett's heady musical journey into the heart of Uganda - recording with chief collaborator, multi instrumentalist and singer Albert Ssempeke and featuring assorted vocal legends from the north of the country. The music blends a fully electronic sensibility with unusual, hand-crafted, African one-string fiddles, a 200-year-old harp and an enormous, group-played xylophone. It mixes traditional Ugandan folk songs and modern pop forms into a new PLASTIC ORGANIC VISION.
Hackett is influenced as much by the music of the African continent as he is by European electronic compositions and soundtrack scores. The sounds of hauntingly-dark vocoded vocals, crushed electronics, and poly-rhythmic drum machines sit alongside chiming African fiddles, rippling harps and children's laughter. He is a member of Owiny Sigoma band having sung on and co-written a lot of their work spanning three albums. He is also touring keyboard player for the Gorillaz and has released records on Stones Throw, Honest Jon's and DEEK Recordings, to name a few. Albert Ssempeke is the son of a prestigious royal court musician who played in the days of the old Buganda kingdom - one of more than twenty five musical siblings, Albert is simultaneously an educator, performer and preservationist of this intricate and complex traditional form of music. Here he plays over ten traditional Ugandan instruments including Amadinada (xylophone), Ngindidi (fiddle), Endongo (harp), Ennanga (flute) and many more

nyc producer marcos cabral, often releasing certain dj weapons from the labels as l.i.e.s, the triology tapes gave the birth to 3 tracks with punchy energetic machine-ism.
his polyrhythms(which makes us addicted,) and lo-fi hardware pulse always set some hooks to our mind

- which we found in boosted drum lines and sometimes industrial noises as a1 and b1.
set up with b2 which is also nicely balanced deep house tune, it is definitely capturing aesthetics of roughness and fineness as
whole ep.

UNKR enslave dust-coated synthesizers, dilapidated drum machines and rusty FX boxes to craft 4/4 tunes for their impatient overlords. Their vision is clear - they will make techno, they will make house, they will make electronica, and you will listen and dance. It's not yet clear if BUNKR is the work of one frenzied human or many lazy individuals but we do know one thing - the ringleader is one James Dean, who previously released as Lost Idol on labels such as Pork Recordings, Nature, Final Frontier and Cookshop. Following a prolonged spell of writing music at slow tempos, Dean initiated BUNKR as a reactionary desire to speed things up. Too much time had been spent just sitting around - it was time to stop sitting and start dancing. True to their vision, here we have 'Cloud Chaser', a bubbling jam backed with a huge remix from Shan, who flips the mix with dramatic strings, sprinkles of magic dust and massive amen breaks. No less impressive is 'Juno's Revenge', a track you'd turn up on your headphones while taking a nice afternoon stroll on the moon, on a sunny morning after a long interplanetary rave. Igor Tipura delivers the rework, complete with a marching percussion workout and acid chemtrails that will send you right back to 1993.

Norway's PLOINK imprint returns this April with a four-track EP from production duo Dortmund titled Sauerkraut featuring a remix from Christian Tilt.
Hailing from Bergen, Thomas Urv and Miss Mostly's PLOINK events have been championing the Norwegian techno scene for over two decades. Launched in 2014, the PLOINK label has hosted a string of
versatile twelves from the likes of Prins Thomas, Christian Tilt, SkatebÂrd and most recently Mental Overdrive, whoís innovative ëHardwareí album dropped in March. Returning to the label since providing a
track on PLOINKís 20th anniversary release last year, hardware specialist Dortmund, real name Karl Markus Zavodny, is also well known for releases on Montrealís Turbo and Leipzigís Vocabula Recordings.
ëSauerkrautí opens the release with rolling synthetic percussion that builds into an earworm groove, laced with chattering hats in tandem with echoing claps and fuelled by a vibrant acid loop. ëAcid Over Osloí then
motors along, utilising a razor-sharp 303 line within the frame of a crisp drum machine riff with a warmly distorted glow. Christian Tilt then morphs 'Sauerkraut' into an energetic pulsating cut, employing subtly swinging hats bathed in reverb before further processing the acid lead into fresh areas of the stereo field. Echoing bleeps then dissipate in Karl Krankenhaus underpinned by a bone shaking drum groove alongside moments of IDM tinged synthscapes and dubbed out chord stabs.
Dortmund ëSauerkraut EP' drops on PLOINK on 21st April 2017.

* Mastered and lacquer cut by Mike Grinser @ Dubplates & Mastering, Berlin

Rising Amsterdam-based star Esther Duijn leads the charge with a hypnotic, understated slice of dub techno that grooves in all the right places. Label boss Brothers' Vibe then steps up with a sharp-edged, percussion led workout that blooms into a fulsome, acidic jam laced with techno futurism and pure machine soul. German production duo youANDme are regular collaborators with Brothers' Vibe, and here they join forces for the tough, drum-pounding Playing With Toys. Rodriguez also takes the opportunity to unveil the Silent Rodgerz alias, championing the Toad Red vision with a daring, experimental trip through abstractmodular-synthesizer processes that build towards a jacking rhythmic throw-down.

Lost Soul Enterprises presents Technology = Garbage, an album by JL. Recorded to Tascam in 2015 on a variety of cheap and obsolete machines. For fans of swamp acid, cavernous drums, grainy synth washes, and reverb.

Amsterdam's cult producer and DJ Steven van Hulle a.k.a. Awanto 3 likes his samples vibrant, his drums wobbly and his synths sweaty as a Detroit summer breeze. The MPC wizard returns to Dekmantel delivering his second, full-length album. Gargamel is arguably his most compelling piece of work. Spread over the course of nine tracks, van Hulle shows he's capable of serving up many different styles and genres in his ever-expanding arsenal.
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The Rednose Distrikt affiliate kicks things off with his friend and co-producer Darling. 'Azrael' builds over shuffling, infectious rhythms, a cluster of vocal stabs and heartfelt keys.
'This Is When We Met', 'Why Don't You' and 'Gargamelancholia' on the other hand, are aggressive, batty-jackin peak-time tracks embracing classic acid aesthetics, while 'Positive Negative' is a stretched-out house jam incorporating the tussle of wonky boogie and tribal bumps.

Van Hulle drops the tempo on 'Hooli Goose', taking slow release hypnosis turns while making a marching band sound cool. The dry drum machines, melted bass and schizo sounds of 'Ride The Dragon' will appeal to the freaks, and the dreamy 'Happy Bird' is a tripped-out set of ambient and lo-fi themes. Last but not least, Dexter enters the stage to do what he does best with 'Thick': showing who's boss of the 808 with a straight-up electro essential.

Florian Meindl surges ahead in 2017 as he returns once more to his home base FLASH Recordings. He has been locked away in his studio and is now ready to unleash his new album 'Time Illusion'. With these album sessions Florian has created a special collection of analogue focused tracks which will be released on a double vinyl album and digitally in the Spring.

Amalgamating his array of impressive hardware, he has refined his sound and crafted a selection of tracks that demonstrate intricate knowledge and mastery of his analogue equipment. His aim was to find the right balance between musical depth and sound design while interacting with the hardware.

In anticipation for the LP release in early April, Florian has prepared a unique live set featuring a Modular System, the KORG Minilogue, effect boxes and a 909 drum machine which were used in the creation of the album and which he will be touring throughout 2017.
Electronic Beats visited him in his basement at Riverside Studios Berlin to record an exclusive live session, which you can find on Youtube and his Facebook page.

We don't have much info to give about Vicram, partly because the artist doesn't want us to communicate the few things we know. But this is his first EP. It's super raw - not necessarily rough. Raw like a piece of sushi, an unpolished unvarnished beautiful piece of wood, raw like those bare drum machines and simple acid lines. Almost naive, like those early 90s IDM-techno record we cherish but with a very different angle. As usual, we liked Vicram because we don't really understand how he makes his music.

Born and raised in Atlanta, Georgia, Fit of Body (aka Ryan Parks) is part of a new generation of ATL producers; underground artists who draw on the space and grit of Southern hip hop and team it with curveball electronica discovered on late night, weed-fuelled web trawls.Having honed his sound on a string of feted self-released cassettes released on his own Harsh Riddims label - which has also put out everything from bizarro hip hop to gleaming synth pop - and dropped a hyped 12' released on the CGI imprint, the Healthcare EP finds Fit of Body delivering his most accomplished work to date. Five woozy original tracks jammed out on second hand drum machines, bass guitar, cheap mics and creaking synths, this is techno as it was first imagined; raw machine soul made for strange times and unknown futures.
Finding a commonality between Arthur Russell's vocal delivery, Jermaine Dupri's club shaking bass, and the militant drum attacks of Underground Resistance, the EP ghosts past rigid categories, instead taking a journey through heat and haze. On the A side, Parks switches between the languid analogue house of 56k, the melancholic Drexciyan electro of Ridin 2 That Trap or Die, and the lo-fi post punk grooves of 770-997-2341. On the flip he offers the late night 808 soul of Antonio Girl, followed by the uptempo techno ballad All This Time (Since), a song sad and euphoric in equal measure. On 12', the EP is closed with a remix from fellow ATL producer Divine Interface who stretches 56k into a glistening shard of time-stretched trip hop.

After debuting on Mr. G's Phoenix G imprint in 2016 with the Unfamiliar Territory EP, Jayson Wynters makes an appearance on DBA for this, his second release, backed by a Kowton remix.

Jayson Wynters is a DJ that is able to combine many genres in one set and make it work. Wynters was first known as a garage MC in Birmingham, before rising to prominence in the city's underground radio and club scene, where he showcased an impressive knowledge of rare groove and house music. As he got older his taste for music began to mature, his collection began to grow, and he soon began to DJ. Using music as an outlet for expression, whether in the form of DJing or having fun on some drum machines and synths, is one of the most defining features to Wynters. He continues to fuel his passion by keeping an eye on the future rather than the past and striving to remain different.