Techno Новости

2024 Repress

SHDW's label Mutual Rytm rounds out another year with 'Symbiosis' - an excellent split EP from Greek artists ANNE & Sera J, featuring six fresh cuts and four digital bonuses.

The release title comes from the Greek word 'Symbiosis', which means living closely together for a significant period and can be used to speak of a mutually beneficial interaction between individuals. And that is precisely what can be said of ANNE and Sera J, who have grown through life as partners and, more recently, as musical peers. This split EP is their first release alongside one another, and one that presents the story of their innermost feelings, with their full label debut following fine contributions to the label's 'Federation Of Rytm II' compilation back in March.

ANNE has had a busy few years making her mark with potent techno on labels such as Soma, Hardgroove, and Life In Patterns, while Sera J is just as revered for his tunes on the likes of Out Of Place, DifferentSound and more.

ANNE takes the A-side, firstly with the fiery diva vocals and thumping techno drums of 'Heal My Soul' and then the more physical and banging drum programming of 'Turn Back Time'. It's a big, metallic cut with rumbling bass and sleek synths peeling off the groove, while her final track 'Zephyrus' has plenty of infectious bounce and eerie pads to keep dancers on their toes.

On the flip, Sera J kicks off with the electrifying synth stabs and cantering techno power of 'Blue Dancers' and then offers up 'Common People' as twisted leads and slamming drums all run through with alien sound effects and bright stabs. To close, 'Delusion' is a psychedelic cut with roaming leads that bring plenty of cosmic energy to the unrelenting kicks.

In addition, each artist serves up a pair of digital bonuses: ANNE with the hurried funk of 'Serene' and loopy intensity of 'Victor', and Sera J with the liquid, dubby dynamics of the hard-hitting 'Intensity' and monstrous energy of 'Bodies Don't Lie.'

Following on from their 2021 debut album “Lowlands”, Birthname (fka Caro) returns to Limbo Tapes with "Spiral Dance”. 8 signature beats in the form of smoked out sequencing, warped percussion, field recordings and ceremonial sub frequencies.

Their ability to meld ethereal heights and sound system depths continues to provoke movement and headphone speculation alike.

Limited 50 cassettes + Digital.

Jules Wells is from Bordeaux, France. He started Djing in the late 90’s, and released his first productions in 2008 on Logos Recordings.

Strongly influenced by the Motor City, Jules already released material on several respected Detroit-based labels like KMS, Electrofunk, Submerge Recordings, Twilight 76 Rec, and RPD, but also on various labels such as Lo-deep (France), Purebox (Japan) and Logos (Macedonia). These EPs received massive support from many Djs, including Laurent Garnier, Underground Resistance, Carl Cox and Monika Kruse.

Now Jules Wells joined the briquerouge team for his first album ever

To be released on 2x12" LP limited bi-color vinyl edition in October 2023.


Support by Laurent Garner (play/radio show/new podcast DEEP Search planned feature on Soundcloud) /

KiNK's first release on Sofia Records this year lives up to its title and its creator's reputation. The relentless energy, love of musical adventure and undamped enthusiasm of a KiNK live set can be found here in all its glory.

Wake Up is not only an instruction and a hidden compliment to Laurent Garnier, it's also evidence of the Bulgarians uncanny ability to deliver steamrollers with various twists and turns, while hitting the peak effortlessly.
Beep Beep adds a certain element of mania to the menu. For the lack of a better description, please imagine Mr. Oizo and Steve Poindexter making a record together. Not for the faint at heart.
That can be said for the rest of the EP as well. Featuring Redeye, Room To Jack is on the same level of Beep Beep. Traditional topics of Chicago House get a bench test on a speed farm.
Dancing to Scrambler one would probably need the same room to jack. Swapping the Windy City with British raving fields, KiNK and Raredub deliver a take on the early sound of UK that might miss breakbeats, but manage to re-use all the other ingredients to a hair: fine-tuned and updated. Quotation without modern misinterpretation. Hyper and epic at the same time. And always remember the future!

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

On his Discrepant debut Memotone aka Bristolian Will Yates collects some unreleased recordings under a most aptly titled name - »Pruning« - following a healthy stream of releases for such esteemed labels as Black Acre, The Trilogy Tapes or Soda Gong.

Considering the process of pruning as a practice of selective removal, the album takes its name at face value never falling into a mere collection of tossed off material or random B-side assemblage, making it a cohesive listen throughout its disparate timeframe and evasions.

A statement about Memotone's vision itself, »Pruning« veers closer to his Fourth World/ECM/Exotica meets Sci-fi transmutations in alignment with what would be expected from a Memotone release on Discrepant. »Moss Zone« briefly sets the tone with a warm but queasy synth bedsheet that flows into the »Weird Figures« cyber- jungle, all small twinkling percussions and rainforest pads slowly rising. 'Riders' brings the synth-flute to an early Warp meets John Hassell's »City: Works of Fiction« scenario that pops up again in more disrupted form on »Wisdom MOTHER«. »Not What I Thought's« skewed tropical guitar gets going on lo-fi percussion and dissonant synth chords while »Jim Starling and The Inverse Church« bring to mind »Autoditacker« era Mouse on Mars going jazz-fusion. Or what we should expect from their Smalltown Supersound stint. »Beach Scene« is exactly it, as the sun sets into »Come In Don't Mind the Ghost« summer night's stars with all the allure of Stereolab.

Alluring, that's exactly it. Do come in.

The fourth instalment in Pev's Pulse series finds him further widening the scope of his sound as he touches on the distinct energies which inform his unique strain of soundsystem techno.

'Pulse XIII' deals in stark, tweaked-out acid lines cutting through a taut drum machine backbone, balanced out with a sci-fi pad which lets you know its Pev at the controls. 'Pulse XIV' finds him dialling up his jungle roots once more for a dreamy excursion into diced up breaks, cascading synths and dislocated piano chord chops. There's a deeper dub techno spirit to 'Pulse XV' and 'Pulse XVI' deals in the raw, bleep-informed jack tracks that have started to creep into Pev's sound as the Pulse series has evolved.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

The next release from 29 Speedway is Break, the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music. The tape features two remixes by the singular DJ Marcelle.

What happens when dubby drum & bass meets Dischord’s post-punk colossus Black Eyes? “Break” is the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music.

Prompted by friends to write a drum & bass live set just as Black Eyes was reuniting, the results didn’t quite fit the d&b genre. But it felt right. Quick, nimble, with room for the ferocity of his favorite post punk and some of the spaciousness of dub. Evergreen vibes, really, but seen from a fresh perspective.

Honed over a period of two years, the five tracks on “Break” fuse Relaxer’s careening, technoid sounds with free jazz-tinted drum programming, snarling sound design and spacious echo trails. It’s a perfect fit for 29 Speedway’s future-facing, exploratory anti-genre approach to electronics. The tape features two remixes by the singular DJ Marcelle and mastering by Dubplates & Mastering.

This is the last album from Rico Puestel. After somehow three decades, Rico misses the cultural impact of Techno music as it has been and declares its spirits gone – at least personally. There's nothing more to tell. The self-consuming scene has reached its grotesque climax and left an empty shell of something once filled with so much passion, warmth, strength, heart and hope. The times just haven't changed – they lost their self-fulfilling purpose and authenticity.

Heavily influenced by prehistoric, tribal rhythms and trance-inducing dances within redundant structures, Techno music once had a natively true and unadulterated essence. A free spirit on the run. Rico found the right spot in time to gather all of his origins in Techno music for a last act of connecting to it. Being on an all-time high as a producer, he crafted the whole album on a course of twelve hours and relived all those deeply rooted moments and memories with Techno in fast motion. While the track titles are counting down from ten to zero in Esperanto, Rico clears up in peace and balance...

What once was, is now without form and void.
I left.
Everybody left.
Techno has left the building.

Farewell!

Techno pioneer Robert Hood debuts on Rekids with a blistering release entitled ‘Nothing Stops Detroit’ ahead of an album this winter.

Over the last three decades the Underground Resistance alum has continually been at the forefront of the techno genre whilst releasing on many of electronic music’s finest labels to boot. In recent years his solo outings have appeared on a select few labels such as Dekmantel, Music Man Records, not to mention his very own M-Plant. Having made appearances on Rekids in the past remixing label boss Radio Slave - both as Robert Hood (‘Don’t Stop No Sleep’) and Floorplan (‘Feel The Same’) - the Detroit originator now drops a four track release in his official debut on the label.

With its machine aesthetic, ‘Nothing Stops Detroit’ is unmistakably Hood from start to finish. Precision kick drums propel the title track forward as stuttering effects and deep stabs work alongside a march band rhythm. ‘7 Mile Dog’ is next with its grainy synths and scintillating pads, making way for the meandering bassline, rattling atmospherics and trippy, oscillating top line of ‘Ignite A War’. Finally, ‘The Cure’ is a cacophony of twisted percussion and rumbling low-end that energetically concludes matters.

THE DAWLESS present BROKEN AUX LP, their own modern vision of true & old school electro, bass and ghetto-house, - we are super excited to share this first full length project on System 108 by Rami aka Goddeem and Serega aka GOL'D! Already a multi-million streaming project, now it is time for the vinyl release, all comes as superb 2 x LP with gatefold format.

BROKEN AUX is a collaboration heavy album produced in fine style, highlighting the duo's studio production skills, advanced drum machine programming and a perfect feel for that groovy street vibe that everyone loves. Like classic hip-hop and electro albums from the golden era of the genre, the LP is massive (4 sides, including bonus tracks) and unites the band's music friends under one roof, featuring KACCETA, Kristina Si, Kovyazin D, Errortica, Raw Takes and many many more!

On June 16, 2023, UFO95 will release ARC01, his first release on his brand new label ARCHIVE.

After 2 LPs on Mama told ya and lots of tracks on VAs, UFO95 founded his own label where he will be able to drop his own music whenever he wants. ARC01 includes 4 tracks on 1 vinyl. Mastering was entrusted to Soundstuff.

New chronicles: Prolific producer with a massive stock of tracks, UF095 launches his brand-new label ARCHIVE on June 2023.

Operating as his personal database, UFO95 will release on the platform his own music when he wants, without any restraints. Through old school vibes, UFO95 pays hommage to his favorite techno era where he extracts audacity and inspiration.

Exploring the hard drive of it, he keeps pushing the frontier, looking for the unclassified sound. Avant-garde techno, cutting-edge techno... ARCHIVE is always open for consulting.

Contemporary groove tribal techno compilation for the collective extasy induction. Discoteca use preferred for disc-jockeys and collectors.

repressed!

Demi Riquísimo and his Semi Delicious imprint return for their 15th edition with another versatile, club ready collection of cuts from old & new members of the label family set for a release on the 7th July.

The EP features contributions from regulars Lulah Francs, Jive Talk & label owner Demi alongside debuts from NairLess, Last Magpie, Corbi and Michelle Manetti.

The A-side kicks off with ‘All I Need’, a collaborative track from Demi & Michelle Manetti. A bouncing, progressive house number with some old school Italian flavour that sets the tone nicely for the EP. Corbi’s ‘Kraken’ is up next providing some driving, analog acid squelch to SEMID015. ‘Don't Make Me Wait’ by Lulah Francs & Nebari wraps up the Ice Cream side. Proto house style drum programming and bass are juxtaposed nicely to the psychedelic synth work and impeccable vocals from Lulah creating a unique and versatile track to close out the A-side. The B-side opens with NairLess’ ‘Swell’, a tripped out slice of balearic trance. The EP takes a slightly more heads down turn on ‘Release It’ by Last Magpie. A menacing track driven by a sharp synth line that you’re sure to hear over festival season. Jive Talk’s ‘Wizard’s Slippers’ wraps up the EP in their imitable style. Off kilter drums, unique bass and minimalism with the perfect amount of elements to pique the listener’s interest bringing SEMID015 to a close in style.

Number One - ‘Il Locale dell’Impossibile’ presents
‘LA SALA 2’ - Limited Edition
Relive the music that made history in
‘Sala 2’ with this exclusive double vinyl!
Available starting Friday, December 13th, 2024, in
record stores and online, or grab your copy in
person at the Number One on Saturday, December
21st, 2024, during the epic celebration in Sala 2.

Christ Of Noise back in the years !! Provision records for those who knows... With David Lagon... Respect !

Dj TSX comes to you with a bloody good surprise init ???

LTD press !

Repress

Modularz Label owner Developer presents his first LP Sold in Three Parts A,B&C
The Title named "In Pure Form' is a real wealth of work that developer has been creating over the last year. Its a fairly large catalog of music focusing on raw rhythms, strong tools and powerful funk fueled techno.
We do advise that this is not your average concept album with ambient and break beat type pieces that the market is flooded with - but instead a more straight to the point no filler type of LP.
This is a massive selection of functional tracks direct from the Developer factory of techno. Already a huge amount of support and positive feedback received on this release from the global heavyweights currently playing a selected amount of tracks from this killer release.
First pressing CLEAR vinyl

One of the most consistent new labels around, Cyphon Recordings, marks double figures with another standout release that gleans from the past, but faces the future. This time they look to the talents of Emotive Technology, a new alias from Chilean Massiande who provides a five-track EP of machine-wielding, soul-rousing techno from across the spectrum.

Although this may be the first release under his new moniker, Massiande has spent the last decade putting out productions with labels such as Housewax, Phonica, Freerange and Groovin. Firing on all cylinders from the get-go, ‘Rise’ kicks off the Walk Into The Light EP. A hyperspace melding of new beat, Italo and arp-operating techno that opens out into a slice of peak-time revelry.

The swirling textures of ‘It’s On’ follow, pushing you into the next dimension. A hypnotic, entrancing and arresting heads-down powerhouse. Crunchy and considered it's the kind of strobe-stuttering basement jam that turns heads inside out.

Two Detroit-leaning tracks ‘Your Zone’ and ‘Walk IntoThe Light’ are up next. The former is a heavyweight machine workout. Layered synth lines and crisp drum programming transfix, as that grooving low-end powers bodies into bedlam. The latter, a Motor-City-influenced tour de force. One that sees Massiande recode the circuitry to hit with a piano-laden stunner, balancing power and presence, with emotion and nuance.

Closing out proceedings, ‘The Swing’ sucks you in deeper. A resonating world of synth stabs, pulsating basslines and atmospheric electronics.

Doing the Emotive Technology namesake proud, Walk Into The Light is machine music hardwired with a heavy sense of soul.

With respect, my name is Minimal Rock! Extrawelt give us a good going over and bravely break new grounds with their "Titelheld" EP. Here, insane minimal sounds merge with Rock flair, Electro and Trance harmonies. The title track with the telling name "Titelheld" brings us an electro hymnus with hints to Anthony Rother or Codec&Flexor, paired with a juicy deal of pain in the heart. A guaranteed hit for next summer!
"Stammgast" is a perfect DJ tool, which has a strong recognition effect, still, and makes the crowd go wild in seconds. Minimal rock par excellence!
For all of you who don't know much about Extrawelt (yet): the human beings behind this project name are Arne Schaffhausen and Wayan Raabe, who have worked primarily under the akas Midimiliz and Spiralallianz. Until now, they have released more than thirty maxi singles and several albums (on Border Community among others!), and will record a new 12" for Traum Schallplatten this summer.

Unrealesed tracks from FKY 1997-2000. 4 Bon smorceaux Fkyiens (alol).

Mirae Arts proudly presents The Way I Am and The Way You Yawn, the debut album from Katsunori Sawa under his KWARP alias. This six-track release explores the fleeting nature of youth and the weariness of aging, blending Sawa’s experimental roots with fresh, modular synthesizer-driven soundscapes.
From the forward-driving hi-hats and alien voices of "Frog FM" to the mechanical aggression of "Ultra," the album offers an imaginative auditory journey. Highlights include the playful chaos of "PlayStation" and the metallic rhythms of "Metal Gear."
About Katsunori Sawa: First emerging on the scene in 2008 as EOC with his debut on the UK-based Ai Records, Sawa has steadily built a reputation for innovation and collaboration within the underground music community. He co-founded the influential 10 Label and has paired his talents with an array of respected artists, including Yuji Kondo (as Steven Porter), Martsman (under the moniker Bokeh), and DJ Nobu (Nobusawa). These alliances have birthed releases on prestigious labels like Kynant Records, SNTS, and Token.
Creating his sound in a hidden studio set within a striking Tadao Ando-designed building, Sawa crafts a sonic landscape that fuses rhythmic noise with pulsating bottom-end rave abstractions. His work reached new heights with an album on Opal Tapes, making him the label’s first Japanese artist and firmly establishing his place in the global music conversation. His tracks have even been woven into the sets of electronic stalwarts such as Aphex Twin.
* Artwork by Jesse Osborne-Lanthier

A netherland Acid banger... ADN Nord squat sound engeneer deliver a superb full EP !
Kicking and Acid, liveset ambiance !

Limited to 300 copies.

There's no denying Marcel Fengler's profound impact on the ever-changing techno landscape. A pioneer in his own right, Fengler's works have flooded dancefloors and set lists worldwide for decades, and that shows no sign of changing anytime soon. His latest work is an all-encompassing four-track EP titled "Unleashed", including a remix from sought-after Stuttgart duo SHDW & Obscure Shape.

Kicking off with the title track, "Unleashed" introduces the EP with high-octane rhythms, pulsating low frequency sonics and rave like harmonic layers. An unrelenting onslaught of fast paced thumping techno, built around long, sweeping notes, vocal injections and a piston-like bassline, this one was made for the height of the party. "Caution" is next to feature, presenting itself as a robust industrial number with harsh percussive drive and endless layers of cadence throughout the mix. Weighty yet groovy in a unique up-tempo way, its robotic vocal splashes make the perfect accomplice for its potent warehouse vibes.

"Cypher" pulls you into the second half of the EP with rattling rhythms and more gritty sweeping musicality. Exhibiting the depth in his production skills, Fengler loads up the mix with a kaleidoscope of percussive elements alongside thumping kicks, surging synths, and another haunting robotic vox before SHDW & Obscure Shape get their teeth into a signature remix. Taking it deeper and darker, the duo's emphasis on subtle progressions and increasing intensity throughout the mix with offbeat trickery and creative unpredictability make their remix of "Cypher" a certified peak-time bomb.

"It has been quite a journey with this EP, as I've been exceptionally discerning about the sound and the entire production process. My goal was to create a release tailored for the dance floor, with the right amount of energy for peak-time moments, while also ensuring a profound and well-structured sonic experience. After testing potential tracks in my DJ sets, I distilled what I believe captures the essence I want to share with the audience. Furthermore, I'm thrilled to have SHDW & Obscure Shape on board for a formidable remix. Their work carries echoes of the raw and forceful sonic textures from earlier times, which I hold in high regard. I'm genuinely delighted with how everything has come together, and I hope you enjoy it!" - Marcel Fengler
Order IMF012 now

Marcel Fengler's IMF begins 2022 with IMF011, the beginning of a new era of the label's outlook, which will combine a focus on new talent, established remixers and a design overhaul.

Belgian artist Milo Spykers is first out of the traps for 2022, with his "Hier & Nu" EP (complete with a remix from Fengler) delivering a four-track punch of modern techno. Spyker's use of dense synths across the EP imbue his tracks with a memorable character that leaps out of the speakers.

From the jagged and oppressive leads of "Hier & Nu" to the outright anthemic riffs of "The Helicity" via the cascading stabs of "Happex", the "Hier & Nu" EP is a boisterous work of controlled chaos. Fengler's remix of "Hier Nu" extracts Spyker's synths, and with clinical precision, reconstructs them around a lean, muscular rhythm track that oozes tension.

"Milo's a very talented young producer. He's got an uncomrpimising taste in techno and that convinced me that he's both a DJ and producer I want to support. I'm really happy to welcome him to the IMF Family." (Marcel Fengler, Jan 2022)

Protokick new EP brings a Hardfloor update

Brothers Gerardo and Emanuel Cedillo aka Soul Of Hex are making serious waves right now. Born and raised in Mexico’s infamous border city Tijuana the duo have been immersed in the underground house and techno scene DJing, promoting events, performing live sets on their trusty Elektron hard- ware and releasing underground floor fillers for labels such as Quintessen- tials, Secret Crunch, CVMR and Dirt Crew as well as running their own Vicario imprint. Most recently, they have not only established a new venue Marko Disco in TJ, but also a new moniker Mano De Fuego and release dropping in April on Underground Resistance no less!

Here on the Mystic EP we find a little bit of that UR electro inspiration rubbing up against classic late 80’s US vocal house, crunchy disco grooves and driving Italo. Love Is In Control features the vocals of Steve Lucas of Fusion Groove Orchestra/If Only I Could fame and elsewhere we have vocal features from More Lotion and Temporal Wangan. In theory, this could be a miss mash of pastiche ideas but in the hands of Soul Of Hex the authenticity shines through and we’re presented with a brilliant 4 track EP which will appeal to electronic music fans and DJ’s across the board.
SOH delivering the good stuff once again!

3 fat Insane Teknology remixes from classic Teknambul tunes !
Pumpin dancefloor refresh !

It’s the fifth release and this time it’s one of The Viper & DJ Panic.

2022 Repress

Strong 3 tracker with back-to-roots dance floor Truncate style techno

A superb EP, bringi,ng our Tribe to Techno tunes, mentaml and twirling... fdefenitly in the sneaky story telling / evolution of the original 23 Style with a je-ne-sais-qupoi of a newskool !! BIG UP !!!

The Tonarium is an idiosyncratic instrument comprising of two sets of modular synthesizers: Serge by Random Source, and another one by Bugbrand, both of which operate alongside a mixer constructed by Piotr Ceglarek and Jan Dybała. This intertwinement facilitates precise control over audio and CV signals and integrates technology with analog sound, offering the artists a distinctive sonic palette to delve into.

The present record unfolds in two parts, each exploring the fluctuating nature of sound. Both equally contribute to the work’s immersive imaging characterized by sound intensity, continuity and endless flow. Within its sonic tapestry lies a space for listeners to uncover subtle nuances, pulsations, and moments of harmony flickering through each chord’s firm surface.

In Part I, a formidable force consisting of chord progressions pierced by abrupt shifts and transitions unfolds. This deliberate disruption of harmonic continuity invites listeners to immerse themselves fully in each musical entity, uncovering the intricate details of the chords’ overtonal structure, drifting and steadily glimmering inside their glowing cores.

Part II, on the other hand, presents a more closed form—a recurring four-chord motif that evolves and transforms with each iteration until it finally fades out into whisper-like serenity. Here, the bass pulsates with greater intensity, like a wave enveloping the listener in a froth of feelings, which prevails and swells throughout the composition. In contrast to Part I, it exudes a sense of warmth and intimacy, inviting listeners to reflect over the dimensions of their own inner landscapes.

The Tonarium is to serve as a conduit for expression—a vessel through which the artist Aleksandra Slyz is enabled to channel her creativity and emotion into the music. Both Part I and II of the work have the capacity to drag listeners into a sonic odyssey that transcends time and space, therefore leaving an indelible impression on one’s trembling soul.

Performed & recorded on December 18-19th 2023 while in residence at The New Media Laboratory in Katowice, Poland.

Organized by The Soundscape Foundation

Composed & produced by Aleksandra Słyż

Mastered by Rashad Becker

Photographies by Kacper Krzętowski

Design by Maks Posio

Executive production by Christian Di Vito

Blind Delon was founded in 2016 by Mathis Kolkoz—a French artist who draws his energy from coldwave and synthwave references channeled through the use of ancient synthesizers, icy bass lines and black romanticism, all combined with a raw elegance and melancholy.

Discipline - Blind Delon’s first album features a stunning sound design, laced with dark energy and a daring lyricism. The album, although written and composed by the band, is an all star collaboration with Kris Baha, Lapse Of Reason, Incendie, I Hate Models, and others.

Dani has spent over two decades evolving as a producer and has established himself as a force to be reckoned with. He's back with a 4-track EP that showcases his versatility, drawing inspiration from psychedelic, progressive, techno, and house influences.

Waiting . . . silence . . . noise (grrrr) . . . flower open . . . (grrrr) . . . flower closed.

Written & Produced by Darkness Darkness at Magnetic Dress and Dedicated Computer Realm.

Mastered & Cut by Helmut Erler - heyrec - Berlin

Pressed @ Record Industry, Haarlem