House News

Here is INDEX:007 by Ike, featuring two original compositions and a remix by GOD69.

The A Side: lazuline blueness, with perforations of laser lemon
(pressed at 45rpm, it complements percussive electro textures, that intricately mesh into sub-flecked breakbeat arrangements)

The B side: a cameo of pale pink, with roasted umber tones
(pressed at 33rpm, it accompanies acidic electro wobbles, accessorised by futuristic drum patterns)

No5 means a lot for our label. The new release comes with eight tracks of multiple styles, genres and textures signed by various artists, showcasing once again, the true identity of the label. From Spain to Russia, UK and The Netherlands, the artists that are part of this release are both promising and experienced. This compilation brings together, for the first time, Scape One, Cignol, Low Tape, Garçon Taupe, Promising/Youngster, Ochre and Rec_Overflow in an electronic trip between extreme sensitivity and balanced sounds.
This new album has a vinyl exclusive track by Ochre that won’t be distributed in digital platforms. Only for vinyl lovers !

Peckham basement trax. Our friends heard the call and delivered. Simply the West vol 1.2

Copenhagen’s Percy Records affiliate and nom de plum factory DJ Pollen comes with a p-bar certified slammer (look out for more from him this year elsewhere wink wink)

Medlar teams up with Tom Unlikely with the electro anthem (made entirely from the show) about nothing.

Also 4 u, blissed out breaks from The Soft, some 150 biz from the AKA Boys (Fyi...) And two delicate soundscapes from Sierra to end. Play at unnecessary volumes.

Astro Chicken label boss Hyboid delivers his nod to the 80s-centric Synthwave craze. From catchy to new romantic, from stomping to sleazy, "Wired At Heart" has it all: Vintage drummachine beats, bubbling sequences, dreamy analog pads and sizzling synth leads. "Hyboid - Wired At Heart" is a synth-nerd's wet dream cast in vinyl!

Dreamboy from Gothenburg begifts world with completely enchanting EP - four tracks ranging from look-ma-no-kick-drum club heaters to spirit-world ambience and some real Swedish reggae. Starting off with his Studio Barnhus debut, ishi vu is set to blow up 2017 with a string of releases on select world-renowned labels.

Furtherset returns to -OUS with his album 'To Live Tenderly Anew', following his EPs 'To Alter and Affect' and 'Drawings of Desire and Hate'. He notes: "I think of my previous two EPs for -OUS and this album as a trilogy, where this album is the final chapter".

Furtherset returns to -OUS with his album 'To Live Tenderly Anew', following his EPs 'To Alter and Affect' and 'Drawings of Desire and Hate'. He notes: "I think of my previous two EPs for -OUS and this album as a trilogy, where this album is the final chapter". Furtherset is in search of hidden connections beyond harmonies and rhythm. Melodies are repeated until they reach their breaking point. Moments of relief are drowned out in densely packed sound. Intensity is maximized to the nth degree, creating a crest point that threatens to overwhelm pre-existing traces of activity completely.

The opening track 'To Live Tenderly Anew' begins with a fragile melody, only to erupt into pulsating synthesizer figures that continuously expand, before pulverizing into sharp, noise-flecked fragments, and finally dissolving into an ambient pad. Midway-through 'The Logic of a Secret', the music finally sparks into Furtherset's signature arpeggio patterns, sprinting over a powerful bassline. The album finally climaxes with 'Choirs of Deception and Truth', a beatless rave hymn, before it, too, dissolves into deep space. Using only synthesizers, Furtherset creates metamorphic music, drawing on ambient, modern classical and rave, and building on his individual approach to composition, where long fades and periodic cuts continuously transform the scene.

The album's title references Amelia Rosselli's 1956 poem 'Diario in tre lingue', in which the experimental writer - who was born in exile in Paris, moved to the UK after the murder of her anti-fascist activist father, was educated in the US and finally settled in Rome - charts relations between the Italian, the French & the English. This poem laid the groundwork for her singular trilingual poetry, a body of work engaged in the research of tradition, and how tradition is passed on in disjointed manifestations.

No presentations are necessary for one of the boss referents in the international scene as far as Synth and Italo Disco are concerned. Our admired Kid Machine is in charge. Legend.

This extremely prolific artist comes to Aspecto Humano after releasing real gemms in reference labels such as Viewlexx, Red Laser or Cyber Dance. The record consists of five tracks and is conceived open-mindedly and with sounds which refer us to Synthwave, Electro, Italo Disco and New Beat.

Mastered by Alden Tyrell. This is a 300 copy edition on 140 gram black vinyl, in black card outer sleeve and black paper inner sleeve.

Raumakustik should be a notion - at the latest after their successful
single "Glaub Mir Doch" this year. The duo from Dresden, Germany
was always on the go in 2011 with several releases and remixes for
Labels like Deich Records, Klang Gymnastik or Keimzelle. And right
before 2012 they strike back with "Traumtanzen". This is pure
dancefloor pleasure and already approved within the last months. To
complete the label debut of Grain Audio Mister Marcapasos (Toka
Beatz, Housesession, Dusted Decks) delivers a real house remix to get
you back to the good old days.

First track 'Legitimacy' is a wonderful warm electronic song with club appeal by Cornwall based producer Zoe Leonard aka Simmerdown. Already featured on BBC's Hot List with her new project, Simmerdown melts influences of Hip-Hop, club culture and sampling to her very own unmistakeable sound.

Black Soyls are coming with 'Deep Shit Pt.3' an electronic club warmer paying homage to the vienna school of the 90s. Soothing chords and a plucking bassline beautifully paired with some jazz break style drums.

ITO who hails from Munich has already set the bar high with his debut release. Working out very complex rhythm structures over beautiful melodies in his flawless production style, his 'Citylights' is a love declaration to the downbeat genre par excellence.

'Mirrorsides' by David Hanke works with a heavy chopped main sample and brings some deeper feeling with it's milky sounding chords and it's mysterious sounding subtle synth melodies.

Magnonic Signals are proud to present the first of a various artists EP series, Neuromorphic Engineering Vol. 1.

Kicking things off master of deep electro Reedale Rise delivers a sublime immersive machine funk workout with ‘Anatalia’(+) oozing class from start to finish.

Next up we have the exceptional talents of Darren Nye fresh off the back of his superb LP on Childhood Intelligence.
‘Beyond The Stars’ (+ +) has 90’s techno and electro at its core with just the right amount of intergalactic magic.

On the flip we welcome back Mihail P with ‘Past Lives’ (-) a slice of pure Detroit inspired brilliance from our man in North Macedonia.

To close the EP label co-head Spin Fidelity sets the machines to warp dive with ‘To Tha Outta Limits’ (- -) a driving techno track perfect for that 3am boost of high octane energy.

Signals are getting stronger...

New imprint Distrito 91 emerges from its base located in Madrid to deliver a fluid transmission from the label head Fabio Vinuesa.

Side A offers two highly deep electro dancefloor cuts and Side B follows with the electro-funk vibe of Multilevel to the acidic darkness of Infected System. A perfect four-track EP of solid electroish sounds

Cuts is the first release of Cosmonaut for Breakfast Musik. The EP is a compilation of his latest productions, showing his versatility as a producer, with tracks flying in between electro, deep house, acid and techno, always on the hunt of his own unique style.

Welcome to the pleasant travel of Rovas 002. This V.A. gathers some rising talents across "el Rio de la Plata", where some of them are making their vinyl debut.

This is strong tech-house and electro tinged EP comes by the hands of Rulo (with his uruguayan trademark sound), Sauchelli (an argentinian producer based in Berlin) and our mysterious guy Na.cho. For the end of this journey, Neik (who doesn't need any further introduction) is delivering an abstract and mental synths sounds combined with delightful breaks!
Enjoy the trip!

Juicy Fruit is as succulent as the name suggests - a feast of flavour served up by Dutch masters Kraak & Smaak. Their fifth studio album is one that sees them sonically revisiting the roots of their first releases, producing an organic and warm electronic disco and funk album packed with hot property collaborators including Mayer Hawthorne, Eric Biddines of Golden Rules, Parcels, Gallowstreet and Cleopold to name a few.

Effortlessly flitting between outright dancefloor boogie and meditative mellow moments it's a record that captivates the listener from start to finish, blending the timeless appeal of disco and electro with the best in indie dance and electronica.

Welcome To Binary Soulcode Records, A Label Who Is Born For The Love For The Classic Sounds Of Detroit Techno And Chicago House, Always Looking For New Ways Of Expression In Both Electronic Styles And Never Forgetting The Innovation That Both Styles Ment Since Their Birth In The Beginning Of The 80's.

Empty Editions presents the debut 12” from mysterious electronic outfit Taibach. Conceptualized by ABCs, Taibach has emerged from the shadows as a blunted East-Asian historical consciousness failing to return home after becoming a stranger to itself. With a nom de guerre which references both the infamous Slovenian proto-industrial group Laibach and their mythologized homeland of Taiwan, Taibach restages the classic thematics and aesthetic strategies of industrial music for a contemporary moment in which shifting balances of power between east and west herald new hegemonies and exhume old grievances. Their martial approach to electronics follows in a brood of decidedly cryptic underground music: drawing on the sound of classic industrial bands, early 90s techno, and more recent developments at the intersection of noise and rhythmic music. Conditions of escalating ethno-nationalism, imperialist ambition and decay, and historical revisionism within the Sinosphere provide the backdrop for the band’s grimly expansive theatrics, which hint at the possibility of ideological resistance through tactical sign play and subversive affirmation. Acting as a necessary corrective to a commercially bloated and self-satisfied Asian cultural sphere, Taibach embraces futile Taiwan-based nationalism by celebrating the seldom-criticized reactionary tendencies of the region as a document of its history and its current political impasses.

Taibach’s debut LP contains a rawness and intensity that excels in club contexts, spilling over into more varied strands of experimental and underground music. While the music itself is primed for big room sound systems, the omnivorous use of guitar, effects pedals, and sampling techniques alongside stalwart drum programming also allow for more intimate listening—soundtracking both club depravity and solitary walks in equal measure. The kosmische proto-electro bite of Side A opener “Spicy Test” furnishes a terse blueprint for Taibach’s aural vocabulary: skeletal drums brought deliberately into the red provide a burnt, metallic underpinning to the record’s five tracks. Across the LP, rhythm is complemented by asymmetric washes of tape hiss, feedback, and filtered voices which ride alongside the drum patterns. Tracks “You Are Shit!” and “Enemy Inside” carve out wide expanses for filtered chords and sequenced synths to reflect against uncoiling rhythms. Astute listeners will discern a long engagement with UK, European, and US dance music from the 1990s up to the present in their inspired ability to set the drum machine against a distinctly East Asian industrial backdrop—channeling the sound of a dystopic future of armed conflicts and ground invasions where the hastily built edifices of Confucian capitalism resurface as detention centers and fallout shelters. The LP culminates in “Rocket (Live),” an opus of live sound system music that carries with it the hot heat of a subterranean, neon-lit industrial catacomb filled with vampiric club-goers. As guitar noise billows out over a militant rhythm that recalls everything from darkwave to Container (or Alan Vega & Martin Rev’s early Suicide records) the track builds into an assailing polyrhythm that showcases a dancefloor severity at the height of their transportive powers.

Inside the sleeve is a photocopied insert of a watercolor painting depicting an anonymous man hanging from a streetlamp. A sign with the Chinese characters 漢奸 (“traitor”) hangs around his neck. Taipei 101 Tower looms in the distance, once the tallest building in the world—a conspicuous symbol of Taiwan’s American-style capitalist power—now shrouded in the fog of war. Absorbing the anxiety of these times, Taibach’s debut provides an anxious soundtrack looking for the old military bunkers underneath spreading skyscrapers and machines chorusing the rising tides of global unrest.

Monday morning in the rush, buzzing from turning a sprint into a jog. Quick stomps with heavy boots to spice up the season of endless beverages. Leave the temple to fix your screws because the whole gang stood with tears in the rain as Susan dropped this boggling compilation of classic London heat-stroke inducing vibes for you and only you. Big up Asquith for the Lobsterian fire. Susan shows deep approval. Ain't nothing regular degular about this one, folks.

Rotterdam's mysterious studio-wizard strikes on the joyful label of Baltermore isle. Get alleviated and dream on!

Wasting no time, Winthorpe Electronics is back on the pitch with our second release a four track EP from Cignol

Carl Finlow has been one of the most singular voices in electro for over two decades. From the records he makes under his given name to his numerous collaborations and alternative monikers, Finlow's music is suffused with playfulness and imagination. Silicon Scally is the most prolific of Finlow's alias projects, and on Dormant, the third Silicon Scally release for Sheffield's Central Processing Unit, Finlow constructs four pieces of thrillingly futuristic broken-beat electro.

From the opening cut 'V Electro' to Dormant's closing title-track, Finlow's production is incredibly detailed here. These tracks never stand still, their little cells of synth and percussion always evolving. When combined with some stomping drum programming, the final result is an EP which has that rare balance of endless danceability and genuinely innovative production. It's the sound of a master creator letting loose while also managing to keep everything in the pocket, a marvel of moving parts.

Dormant's tone is set from the first booming beats of 'V Electro'. The track's dense mesh of dystopian synth nodules will have you thinking of the nastiest, scuzziest Unit Moebius tune - if the aliens came to take you away, 'V Electro' is what they'd be playing as they beamed you up. Following track 'Bode' tweaks the vibe of 'V Electro' in a couple of key ways, jacking the tempo up to around 140 bpm while also incorporating some funk-flexing organ stabs which give 'Bode' the flavour of a Herbert production blasted into hyperspace.

Dormant's B-side kicks off with 'Proximity Sensor', a cut whose steady drum pulse and chunky bass motif take us back to the very earliest days of rhythmic machine music - Kraftwerk, Depeche Mode and the like. Mind you, the track's slinky synth lines are pure Drexciyan machine-funk, a vibe which is kicked into overdrive on Dormant's eponymous closer. Finlow's most intense production on the record, 'Dormant' is a polyrhythmic whirl which completely sweeps you up, leaving you no choice but to submit to its devilishly danceable impulse.

After a few recent drops which have expanded the sonic world of Central Processing Unit, Silicon Scally's Dormant EP is a reminder that the Sheffield label still does circuit-frying electro better than anyone else out there.

RIYL: Jensen Interceptor, Unit Moebius, Drexciya, Assembler Code, James Shinra

The Eye of Time is the solo-project of French musician, Marc Euvrie. His new album 'Myth II : Need To Survive' is the second part of a trilogy of releases about the path that humanity takes over the ages. A multi-layered tapestry of experimental sound, 'Myth II : Need To Survive' merges darkness and hope via minimalist beats and stark bass.

Myth is a word with ambiguous meanings in the dictionary, but all these lead to the same conclusion. We could decide to see things on the bright side, or to a have a more dramatical (in the literal sense) look on it. Like if one species is looking at another, and in a different era. Myth is a feedback to the tragical events of our time, to what people have to endure nowadays in order to survive, as well as the refugees travels, and the resistance against capitalism that is growing all over the world. Myth is also a particular way to see things, to take sides with history. When we talk about ancient political activists and revolutionaries, resistances to the established order, we make the choice to transform it into a myth, a history full of heroes. But the past is the present. And our present will be the past again. It is on us to take action in order to avoid our inevitable end.

On 'Myth II : Need To Survive', Marc adds, 'The period between the release of the first two records of this trilogy is a most significant one in my life. 'A Need To Survive' is the perfect title to name it. I have fought darkness. I have faced myself. I've been into the deepest introspection ever, but I'm on my way to recover, and I will never be the same again. I guess I have faced the worst but most important period that everybody will face in his life. To know yourself better, to see the bad and the good things you're capable of.'

He goes on to say, 'I feel that the album trilogy I started in 2016 will match my path to become a better person in balance. 'Myth I : A Last Dance For The Things We Love' corresponds to my falling into darkness, 'A Need To Survive' to finding the energy to rise again and the last record which will be named 'To Heal', corresponds to me right now, feeling positively mature.'

Euvrie's musical development is deeply connected with the French DIY punk and hardcore scene, although he has been classically trained. He started to play piano at 9 years old, composed his first pieces at 15 and studied cello at a Conservatoire after finishing school. Euvrie played in several bands before, being inuenced by Claude Debussy, Philip Glass, Frederic Chopin, J.S. Bach, Michael Nyman just as Godspeed You Black Emperor, A Silver Mt. Zion and Portishead, he began to translate his personal reection of our complex world into music, which initiated The Eye of Time.

His extensive self-titled debut album was released in spring 2012 and exposed a dark look on the present, past and future. His last albums were promising a glimpse of hope ('Acoustic') or pitch-black despair ('Anti'). 'Myth I : A Last Dance For The Things We Love', released in 2016, dealt with introspection, impregnated with minimalistic moments, where piano and cello write the story of loneliness and calm, accompanied by both grim and hopeful melodies.

The cover artworks of the 'Myth' album trilogy display pictures by Emin Özmen, a winner of the world press photo award. His work is focused on the situation in Kurdistan, Syria, Turkey and the "refugees". His work has been published by Time magazine, The New York Times, BBC, Guardian, among others.

Markus Sommer and Phil Evans team up as MSPE and present a 2x12" on a new sub-devision of their own imprint Pager Records.

CAIN closes out his Fine Grains triptych with a vivacious EP of signature bass shuddering, polyrhythmic drums. ‘High Call’, his first 12” on the now Amsterdam-based label, offers 6 original tracks and a remix by Japanese producer Jun Kamoda in homage to the revelatory spirit and pre-medieval origins of carnivals. Artwork by Dutch/Scottish artist Roos Dijkhuizen created through ink and water drawings.

Colours emerge from the dark, glowing torches and fire embers flicker through the night. ‘Caapi’ warmly draws you into proceedings, an alluring tease of soothing chimes and preview of the infectious shuffling drums that will follow. From ‘Apsara’, Cain sets us on the front foot. A pounding, stuttering rhythm ignites the track, as spinning chord sounds echo and a haunting, hallucinatory vocal lead us on. The carnival is fully alive in ‘Gundon Night’, a sinister and menacing broken track steered by Cosssack warrior chants. High on the mountain we reach the pinnacle of ‘High Call’, a triumphant lead track with CAIN’s recognisable warm and driving, rhythmical drum patterns. The otherworldly psychoacoustic melodies of ‘Taiyi’ and slower-paced triplet drums structures of ‘Zetwal’ make these tracks the outliers of the EP, but they also complement and help to complete the picture. Jun Kamoda’s zany turned up marching techno take on the lead track signs out ‘High Call’ in playful, multi-coloured order.

Censor announces their first release of 2020 that sees a new entity enter the crew’s orbit - the Electro & Techno assassin: Assembler Code.

After a slew of releases on label’s such as Cultivated Electronics, CPU, International Chrome, Boysnoize, Mechatronica (alongside Jensen Interceptor) & Dance Trax (alongside Alex Jann) Assembler Code brings his signature dystopian machine workouts & off-world electronic technologies to the Censor camp.

Monochrome initialises the release with a powerful, yet claustrophobic lead bass designed for the harder floors, which is driven continually forward through a focused drum workout that Assembler Code is so well known for.

Perimeter Inspection creates deeper contrast on the A-side via ice-laden synths that intrigue and breathe to allow space and time to be torn away from the super-controlled beats.

Generator is the outer on the B, and gets straight to work via an evolving, electric drum sound that arcs, twists and races alongside intuitive bass edits all accompanied via a tripped out vocal ready for the dark rooms.

Lateral Transfer is the final track of the EP and cuts through dimensions one world at a time using a sonic network of vocal triggers, saturated bass elements and hard-wired percussive sounds straight from the Assembler Code mainframe.

Having Ballet Mechanique as the first artist in our new series 'The Secret Sun' is kind of a dreamlike reality for us.

With this new series we want to bring forward a legacy of electronic music that is channelling higher positive forces and transcending space and time.
For us, Ballet Mechanique's music has always done just that.

Digging into his archives, Jeroen brought to light a treasure trove of unreleased music that probably would have been left unheard forever...

The tracks on this first 'Collection 1' were written and produced between the years1992 and 1999.

Returning to Opal Tapes after the highly lauded ‘Royal Dungeon EP’, Medellin, Colombia’s Filmmaker issues a damned statement in the form of ‘Late Stage Earth’ a 4-tracker of scorched electro and slamming EBM. Perfectly poised and composed dance music formed over pointillist electro melody and swung out druggy drum programming replete with wheezing pained pads. Filmmaker continues a tear through 2020 with some of the most tuneful and memorable song writing in electronics

Purple wave is the manifestation of Rico Casazza. An EP awash in sea of emotional overtones from bittersweet to electro punk, with a contemplative gesture yet still dance-able. Purplewave aims to bring something deeper to the surface. 4 original tracks with two elegant remixes from Silicon Scally and No Moon.

200 limited copies pressed (No Repress)

Superlux is the latest project from Mike Gill, Nick Gynn and Johnny Hunter. With years of combined experience in the
industry, each member brings their own unique flavour to the mix. The end result being the trio's debut release, Superlux
001, on their new imprint: Superlux Records.

The EP begins with Mike Gill’s Noisy Rework of White Noise . A breakbeat style cut that harks back to the early days of dance
music, stuttering percussion and intermittent hi hats help form a track that feels modern yet mature. Chupa Track continues in the same vein, as a mechanical synth rotates alongside echoing calls and robot-esque keys, before Take One ups the tempo as
reverberating pads clunk on top of a slow moving bassline. Rounding off the EP is the Dawl remix of Take One . A similarly eerie number, pulses and beeps merge with choppy breaks to form a futuristic, extra-terrestrial sounding cut.

5th edition Hamam House takes on further trips to the intergalactic dancefloors with middle eastern tangled dance
music

Andy Jaggers (aka ADJ) is a name that has been synonymous with the underground electro scene since the mid-nineties.

Andy is one of the understated contributors to the sound; in one dimension pushing the music of others in running one of the best record shops London has had to offer (IQ) as well as forming his sonic niche across his labels and own productions.

Andy released his early works as 3 Elements on his own label Analogique, delivering 4 now very hard to find records in between '95 and '96. Unfortunately for us here at knoe towers the source DATs have been lost to the perils of studio moves. Later he would set up Pyramid Transmissions with Pathic to release their own productions and those of likeminded individuals pushing the envelope of the electro sound outside the normally accepted boundaries. Electro as a genre has always sounded like the future however Andy manages to take it into the fifth dimension and beyond, overlaying IDM techniques and soundscapes onto the solid backbone of Detroit electro.

For Those That Knoe has worked extensively with Andy to put together a deliciously cohesive eight-track compilation of his works spanning the more recent period of his production career. The LP includes Pyramid Transmission vinyl favorites, cuts only previously available on his digital albums and some pieces released for the very first time.

Brianna Price turned plenty of heads when, earlier in 2020, she swapped out her well-worn B.Traits moniker for the new title of Baby T. A change of name also signalled a departure from the booming techno-centred sound Price had been pedalling as B.Traits - she promised, all guns blazing, that Baby T was about 'hardcore junglist shit only'. The project's debut drop, an EP for Samurai Music entitled Portra, put that manifesto into action, running the gauntlet of darkside drum 'n' bass, ardcore soundsystem techno and dark ambient.

From the whip-crack electronic drums which usher in Baby T's second record I Against I it is apparent that we're in for another wild ride. Emerging here via Central Processing Unit, Price meets the CPU sound halfway on I Against I's A-side, delivering two super-snappy broken-beat electro joints which both have a malevolent, dystopian edge to them. The levels are high from the off, with opener 'I Wish' fronting nasty, high-wire machine-funk that draws its strength from the Bunker, Djax-Up-Beats and BPitch Control sounds. 'Acid Science', another helter-skelter melange of needling synths and vocal licks, follows. Though this track's title may promise acid, the snaking bassline refuses to lock fully into the perpetual-motion madness of a TB-303. Instead, Baby T chops the lick up to move in and out of the drums, an effect that has one thinking of Cardopusher.

'Estrogen Attitude', the tune which kicks off I Against I's second-half, is an even headier brew. The intro skulks and broods, a pulsing kick-drum and intermittent 303 whirring in a cavernous atmosphere. You get the sense that something is brewing, especially given that the tempo has increased to junglist speed. However, when the breakbeats do enter Baby T opts to lurk rather than strike, locking into the sort of murky drum 'n' bass roll that wouldn't sound out of place on the UVB-76 imprint. This is jungle to shadowbox to.

The vibe of 'Estrogen Attitude' is inverted on EP closer 'We Could Disappear'. Beginning with a grainy, mournful ambience that recalls Biosphere and Kevin Martin, the track gently unfurls with the introduction of synthetic strings and muted breakbeats. If 'Estrogen Attitude' was indebted to Metalheadz, there is plenty of Goldie's more grandiose soundscaping running through 'We Could Disappear'. At the end of the track, the atmospheres dissolve to leave only the hum of sub - both a reminder of the bassweight principles that drive the Baby T project, and also representative of how I Against I has progressively etherised itself across its four tracks.

Baby T's Central Processing Unit debut I Against I tackles dystopian electro, impressionistic drum 'n' bass and dark ambient, all while adhering to junglist principles. This is a brave new world for both the artist and the label.

RIYL: Metalheadz, Pessimist, Mutant Joe, Cardopusher, dgoHn

Introducing a fresh new label concept from Robin Ordell. No Time County’s focus is music that brings a feeling of elegance to the dance floor. A deep interest for sounds has given Robin a refined ear and a unique personal style, which permeates into his vision for the label. On this first release we get three slinky cuts, each one representing the label ethos in its own way.

The EP begins with a cut from Robin’s collaborative project with Bruno Schmidt - Asper Bothrops. ‘Track 21’ is dainty yet punchy, rolling with vigour for almost 10 minutes. Throughout, the rhythm keeps you locked in tight, swinging beats complemented by an assortment of bleeps.

Up after that is ‘Backwash Intro’ by Robin on a solo tip. This track fuses soul and retro beats to create a captivating composition full of energy and mystique. Robin’s penchant for unusual sounds is evident from start to end with an almost frog-like motif in its croaky cadence.

Lastly, it’s Rudoh from Karachi. Featuring alluring atmospherics and a hypnotic bassline, this is an enchanting workout. A range of organic sounding percussion pushes the track along, while tactful production techniques ensure that the energy builds steadily.
Listen out for more from Robin Ordell’s No Time County...

"Following release on Furthur Electronix, Computer Controlled, AC Records, Lunar Disko, Seagrave, Alphabet Set & more, Irish producer Cignol makes his debut outing on 20/20 Vision with 'Past Futures'. The four track EP serves up potent break beat electro with razor-sharp acid tinges, deep baselines and atmospheric synths.

Cignol's ability to craft emotive soundscapes is exemplified on the opener 'Past Futures' with deep electro groove 'Virtual Array' following up on the A-Side. On the B-side 'Gantm' & 'Lessoned By Lessons' lift the tone into lighter spaces whilst still unfolding emotive melodies and driving break beat grooves.

Nick Araguay is born in Paris and lives in London. Not much is known about him.

'Radar' by Parisian DJ and producer NiKiT is Electronic Emergencies' first release in 2020. Two years after his debut, NiKiT has once again delivered a stunning mini-album. His idiosyncratic and particular style within the realm of techno flirts with electro, and sometimes even has a dubby touch. Compared to his debut 'Arcanes', NiKiT's sound has expanded and is more spacey, while staying powerful and very danceable. Celebrated Dutch painter Ditty Ketting conceived the mesmerising cover art.

A re-issued classic from the veterans of the genre, welcomed back via the Direct Beat Classics (DBC) label.

1) "Electro Techno" - Thunderous Street beats and cyborg vocals rule under the futuristic atmosphere of Detroit in this
legendary throwback of electronic funk. Still a signature tune in their catalog of greats...globally proven to start the
party.

2) "Black Planet" - A funky bass secured rhythm laid atop sparse percussion. Straight groove made to ride into your next
voyage.

3) "Electro Techno (MicroKnox Remix)" - Rehashed & restructured for the street...a splendid taste of the future from the
original material. Hyper tech-lines, subsonic bass & beefy drums remixed to rock venues properly. Electric, in full swing.

4) "The Flight" - Robotic rhythms standing tall against a cosmic backdrop of bass kicks & steely synths created for lift off.
Perfectly piloted into the Aux-Quadrant for your funk filled journey. Ride the vibe.

Detroit masterpiece, originally released on D-Bass Records back in 1997. Now fully re-mastered by Analogcut and distributed by Subwax.

Limited 12" single featuring remixes of a Moby & The Void Pacific's track 'Are You Lost In The World Like Me', from the album These Systems Are Failing Us.

Blanck Mass adds his own twist to 'The Light is Clear in my Eyes' whilst Nava Ryan, Zarva and Moby (the man himself) remix stand out track 'Are You Lost In The World Like Me'

Erik Travis aka Sound Of Mind back on Program Central with a killer 6 track ep! from the F.A.C.T. files. Recommended!

Ste Roberts delivers 4 high energy electro cuts on Infilrate.