Techno News

Following on from 2018’s Echo Principle LP, the Pleasure System full length sees Steve Hyland return to the crisp drum programming and colorful IDM soundscapes that dominated his debut on the FILM label. A veteran of music production back in the driving seat after a long hiatus, Hyland’s approach on this latest offering draws on the isolation of modern life for inspiration. Pleasure System sees the British artist ruminating on his place in the world, and the mournful synth flourishes and washed-out drums, paired with more hopeful moments of electronic abstraction communicate a delicate yin and yang, constantly working against one another to find balance.

"Barcelona-based street-techno artist Christiane delivers six tracks of anxious and grinding techno sound, infused with early gabber influences and shades of Nitzer-Ebb and early EBM.

Cherry-picking the hardest vibes of early Detroit techno, Christiane blends them with abstract gabber synth sounds, squelchy 303 basslines, and dark ambient breakdowns.

This EP serves as a platform for the artist to express both rage and dreams, pressure and release, embodying an involuntary exercise in reconciliation."

Out of the many artists, both new and established, that Futurepast has welcomed to its family, Spanish producer and DJ Eduardo De La Calle is one that we can definitively call a legend. His vast discography includes many of dance music's most appreciated labels, so we're humbled to present a full EP from him.

His EP "Kardama" emerged as the winter of 2022 bled into 2023, a period where he'd actually been producing more downtempo works, so "Kardama" is his most recent take on techno; a genre he is certainly well-versed in with over 25 years experience.

As a reflective work, De La Calle processes emotions and thoughts with analog methods, reverse delays and pedals on "Kardama". The emotions that he holds close to himself show up in the detail that sits deeper within each track.

"I simply make music with the intention of feeling better" says De La Calle, "it is a therapy for my mind and for my spiritual state. Through a creative process, I feel calm and useful for the world and for myself."

Human Rebellion premieres on Science Cult with an absolutely effective dance floor stormer. Four solid electro cuts dominate with an excellently crafted remix by The Exaltics.

It’s an excursion into the past for Curated By Time, as the Spanish imprint travels back to the millennium on Kage’s A Future Remembered. Five vintage cuts that embody the sound of an era long gone, but never forgotten.

We’re blessed with a trance-leaning musical number on Nightvision, with softened kicks and enchanting vocals marrying up in beautiful harmony. Semaphore then takes us into a weightier realm, as thick percussion moves beneath shimmering synths throughout.

The ambient sounds of Lost Cities come next, with blissed-out, dream-like elements transporting us to a world far removed from our own. It’s the ideal precursor to Seven Years, which ratchets up the tempo via four-four drum patterns and whip-like claps, before Acapulco Delight completes proceedings on

Tectonic is very proud to welcome Lamont to the team!

Bristol’s bendy-beats whizz kid is mainly known for dropping jaws with his releases on Swamp 81 and it’s various offshoots. This time, he’s been chipping away at 4 fine-cut gem, especially for Tectonic - bringing some darkside vibrations in addition to his usual bounce.

‘Hold Dat’ runs at 135bpm, sitting in-between grime, dubstep and housey/techno/whatever that thing Lamont usually does! Charged with a disgusting, totally greasy bassline, this one drops hard and keeps going - quality moves for (now, mostly imaginary) dancefloors.

‘Push’ takes it down a notch, to 130 for a more heads-y work out, laden with crackling, fizzing sonics - and heavily punctuated by sub bass hits. The energy levels step back a touch, while building intensity.

‘Brain’ sees Lamont working more familiar territories - sending a pounding 4/4 kick drum out to hold together a series of collapsing percussive hits and warping melodies - as a ‘brain’ sample, simply haunts your brain.

The EP closes off with ‘Open Letter’, taking things into a dread-space; dub wise, deep and dangerous. The lurching bass hits take charge and push you through layers of echo’ed hits and micro-melodramas, to round off this great EP in fine style.

Travis Stewarts Reise zur Entstehung von „3FOR82“ begann passenderweise am 4. März. An seinem 41. Geburtstag, am 4. März letzten Jahres, wagte er sich in den Joshua Tree National Park in Kalifornien, um Klarheit und Inspiration für sein nunmehr elftes Studioalbum als Machinedrum zu finden. Zwölf hochintensive, nachdenkliche Tracks, die die Nadel zwischen seinem vergangenen, gegenwärtigen und zukünftigen Ich spannen.

Angesichts der Tatsache, dass Ninja Tune eines der Lieblingslabels des jungen Travis Stewart war, spricht dies für ein Mantra, das die Platte leitet: Nostalgie durch eine zeitgenössische Linse zu betrachten. In den stillen Weiten des Joshua Tree durchforstete Machinedrum alte Festplatten mit seinen Beats aus den späten 90er Jahren: Viele von ihnen wurden mit ‚Impulse Tracker‘ erstellt, einem groben Freeware-Programm, das fast ein Vierteljahrhundert lang unangetastet blieb. Nachdem er einen DOS-Emulator gefunden hatte, auf dem ‚Impulse Tracker‘ lief, nahm er sich selbst auf, wie er diese Beats spielte, um „3FOR82“ zu bauen: Sample für Sample erstellte er originale Sound-Datenbanken, die in eine eigene Bibliothek eingespeist werden konnten und „3FOR82“ einen unverwechselbaren Klang verliehen. Ausgewählte Zitate werden als Monologe oder Samples in die Musik eingeflochten - der Opener von „3FOR82“, „Oracle“, beginnt mit Reflexionen von Aja Monet über das Tanzen allein. Auf der Leadsingle, „ZOOM“ erzählt Tinashé von jugendlicher Lust auf der Tanzfläche; an einer Stelle in „KILL_U“ erinnert Tanerélle mit ihren beruhigenden Tönen daran, dass man manchmal „verloren ist und dann wieder gefunden wird, und dass man so viel erreichen kann.“; in „U_WANT“ sagt sich KUCKA selbst, dass „es bessere Tage geben wird“, während ROZET in „RISE“ riffet, dass sie „vom Boden in den Himmel wachsen wird.“. Die Wirkung, die das Thema auf „3FOR82“ hat, ist zart und eindringlich und verbindet diese Stränge von R&B, Pop, Jazz und Drum & Bass miteinander.

Marco Faraone returns to DCLTD with a pair of high-impact cuts, reinforcing his range as one of techno's most versatile producers. 'Dangerous' rolls like a percussive steam train, building tension with a barrage of low-slung drums and a head-spinning synth line that darts in and out of play. 'Pressure' doesn't take a back step, as industrial rhythms uncoil with thrilling effect.

Venerated heavyweights Surgeon and Speedy J cement their Multiples collaborative project with a long-form album of tweaked experiments past the outer reaches of the techno realm. Recorded over the course of two days at Speedy J's STOOR lab in Rotterdam, Two Hours Or Something is what happens when decades-deep experts in the field plug their hardware in and jam without time constraints or crowd expectations. In these raw, one-take, no-edit sessions there are propulsive moments of techno and electro balanced out by extended beatless passages and a constant experimental instinct which drives the music forward into parts unknown. Following a string of knockout club and festival appearances, this is a fitting document of just how far out Multiples can go when you combine two such experienced and inquisitive minds (and their respective gear). The album comes in a special gatefold designed by Atact, and with a download-code including 5 bonus tracks.

Pushing the boundaries of intelligent dance music higher into experimental-adjacent analogue territories, where abstract serenity and complex analogue developments entangle in an organic symbiosis of sorts, Noordens newest puzzle in sound comes courtesy of two label habitues, Orion Moustache and Panta Rex. Staying true to their genre-unbound DNA and innovative vision, both artists each contribute a trio of oblique sound equations, conjuring up both identifiable rhythmic patterns and off-piste downtempo digressions to shape a grammar truly their own - not quite your usual function-oriented DJ tool, but not floor-opposed either. Hybrid and agile, this co-op between Orion Moustache and Panta Rex oozes inspirational spaciousness and ascetic sophistication thru and thru.

Repress.

The love for Sally C’s sound and burgeoning label shows no sign of slowing down. Last year’s ‘Big Saldo’s Chunkers 002’ was a phenomenon. Led by ‘Downtown’, which became one of the most beloved tracks of the year, it secured over 30 BBC Radio 1 plays and genre-crossing support from Peggy Gou to TSHA and Bradley Zero. Critical acclaim came from Bandcamp, RA and beyond.

Launched in 2020 with ‘Big Saldo’s Chunkers 001’ that’s currently on its fourth repress, the Chunker sound is special to all those who know it. Taking influence from artists including K-Hand and Fast Eddie, Sally draws on the sensibilities of classic US house music, crafting unique dancefloor cuts that don’t compromise on quality.

Active on the release front over the last 12 months with well-received remixes of Obongjayar, LB aka LABAT and a fresh original on Rhythm Section, we witness a noticeable evolution in her sound with BSC003. “I wanted to challenge myself when writing this record. I still haven’t released a full EP on another label, so I wanted to pair straight up Chunkers with something a bit different to shake up the Chunker energy,” she shares.

The four-tracker opens with ‘All Love’, a joyous house banger that swaps out Sally’s trademark Chunker bassline for a sexier groove. When the euphoric piano breakdown kicks in, soon accompanied by the ‘dance’ vocal on repeat, we’re reminded of the exultant power of rave. ‘

Hit It’ follows, a proper Chunker to the core. A hip house-informed jam, it’s packed full of tight drums, stabs, sirens and one of Sally’s monster Chunker b-lines. An absolute tune!

‘Control’ is a low-slung roller, encapsulating her love for simplistic production principles that birth memorable results. A headsy offering ripe for the after-hours.

‘‘Get Up’ is an ice-cool slab born out of a jam on a drum machine that hits at 144bpm. “I wasn’t sure how this would fit on the record being this speed, but it’s exactly what I envisioned when I wanted to challenge myself more. It’s raw and rolling and as soon as I made it, I knew it fitted into the Chunker family,” Sally explains.

Deep and hypnotic. That pretty much sums up the new Nacreous-EP by Shoal on the Dutch imprint NOWHERE. The title refers to a certain glow or color that mother-of-pearl radiates. Shoal is the alter ego of Utrecht-resident Kenny Dean Kneefel. When you have a name that sounds like a famous stuntman, you are probably prepared to take more risks. And indeed that's exactly what this producer from the lowlands does on Nacreous. Shoal's four track EP combines hallucinant grooves with delicate sound design. Like on Bygone Drums, where ominous distant sounds from a nearby factory creep between the shadows. The same can be said of the title track, a tribalistic tune with a delicate dark undertone. Never Endings is more uplifting, with its dubbed out basslines and crispy hi-hats. Dubtechno that reminds us of both Monolake and Fluxion. Closing track Morning Float is indeed that, a trip in a blue tank filled with warm water, where you are comforted by beautiful strings and sounds of nature.

Twice Infinity is back with part two of its Infinity Series compilation series, this time boasting four international artists with five tracks that span a wide array of contemporary techno. Call My Bluff, a groovy banger by Ireland’s very own Aero, opens up the EP with heavy percussion, intriguing vocal stabs and some trancy pads on top. Messiahwaits from Korea, now based in Berlin, follows up with a low end-heavy monster whose cinematic vocals and noisy textures are made for nothing but the sweatiest dance floors. Opening up the B-side newcomer Echion from Vienna delivers the hypnotic tool that is Sepul after introducing it with an extensive opening part that builds up intensity easily. Next, Istanbul’s Gräfin, head of local collective DREPT, fires up the mood canons with her dreamy and cleanly produced track Amaranth. To round up the third release on Twice Infinity, Echion’s emotional breakbeat cut Nine Years, filled with a deeply personal story delivered via his own voice, closes this outstanding release that features some of the best producers modern techno has to offer right now. Release: November 3rd 2022 Mastering: Chlär Artwork: Ronja-Elina Kappl

French saxophonist Musina Ebobissé unveils ARMAUN, his third release under the Blendreed name. ARMAUN – Ambient Resistance Music Against Urban Noise – takes a stand against the interference of invasive irritants with sublime slow motion music. Its four pieces evoke an ecstatic peace, allowing both artist and listener to breathe deeply. As the compositions unfold, each exhalation resonates at the frequency of the human mind in repose.

Layers of treated and reverberant saxophone fuse into a hypnagogic whole, as elongated melodies interact with their own fragmented and transformed echoes. In a semi dream state, existence is experienced at a languid pace, as each phrase decays into a haze of crosscurrents.

If ARMAUN recalls the fourth world music of Jon Hassell and Eno, it equally finds oblique kinship with André 3000's "New Blue Sun". Likewise, it shares essential DNA with vaporwave and the tape-loop experiments of Terry Riley. Conceived as a confluence of acoustic and electronic elements, Blendreed explores the intersection of jazz, ambient, post-rock and experimental music.

This is work of exquisite beauty with a direct function. It provides an antidote to the bombardment of our senses. After unhooking your mind from temporal entanglements, ARMAUN will absorb your soul.

Back again, Dold and Blue Hour are teaming up on yet another split EP for Arsenik. The two explore new and diverse sounds, broadening the label output with four tracks ranging from dub soaked and dreamy house to early rave and obscure techno/electronica. Blue Hour hosts the A-side opening up the record with ‘Straight up’, a raw drum work out with dubbed out attitude, deep sub bass and tumbling chords. Next is ‘Phases’, which feels lighter in comparison with a mood embracing after-hours moments wrapped in warm pads and emotional string melodies that are reflective of his early productions and signature sound. The B-side by Dold switches the mood up with both tracks referencing the early years of dance music. Ninety-three is a enchanting tribute to when genre cross pollination in the UK was prevailing. Closing the EP ‘Odyssey’ traces further back with a surprising twist of techno/electronica reaching into a futuristic soundscape and through the cosmos.

Originally released on Firstcask Records in 2003. A selection of my styles and ideas at the time, ranging from drum n bass, ambient, acid etc etc

Having released 2 killer and totally unique EPs on Cold Recordings, the British-born, Berlin-based Eric Baldwin aka Cocktail Party Effect, lines up his first for Tectonic. Across these 4 dynamic 130bpm cuts, CPE demonstrates his sharp ear for creating tracks full of energising percussive twists, melding hard-charging, dynamic techno textures and while running wild with a UK sense of bass-heavy and percussive manoeuvres.

First up is the mesmerising and off kilter ‘Shattered Retina’. Setting the mood for the EP it begins with a hypnotic chime sequence, before rising in tension to release the contained frenzy of drums and swaying bass it held back..

Following on then is ‘Triops’, which breaks out from it’s regimented bleeps in the intro to a broken rhythm that picks itself up just as it’s falling over again.

Flip for ‘When The Gun Claps’, which takes a more UK-percussive tone, rolling out a tribal dance floor beat as the vocal sample cuts in and out. Last up is ‘I Feel Sick’, which takes things the hardest mood on the EP and is an absolute banger! Hard, broken techno with sub shaking bass; twists and turns from the offset.

“I’ve absolutely hammered all 4 of these tracks over and over - I love this EP! Cocktail Party Effect is smashing it at the moment, no doubt.” Pinch

DJ Support from: Martyn, Pinch, Madame X, Loefah, Lamont & many more!

Malmö’s Mod Sens arrives on Programm LDN with an electric intersection of soundsystem styles and taut techno and electro. Pushing inventive, bassweight dance music through his Melt club night in the city he calls home, the wildly talented Swedish producer brings an international outlook to his subtly crafted workouts.

“These four tracks were all made at a time in Malmö when electro was completely dominating the underground scene,” says Mod Sens. “That had a strong influence on the creation of these tracks, but I was definitely more urgent to create my take on ‘UK’ Sounds.”

The sound on Misperceptions EP is introspective by design, cast in melancholic pads which balance the rugged impact of the crafty drums and upfront low-end. Mod Sens himself describes exploring the tension between wanting to run and feeling ‘stuck’, and that yearning sensation culminates in four elevated cuts that uphold Programm’s commitment to advancements in club music.

Visual director Blackwall and graphic designer Alfie Allen responded to the tangible mood of the EP, resulting in an accompanying visualiser and sleeve design which round out the emotion Mod Sens was reaching for while working on the music. As a complete package, it’s an audio-visual statement which leaves a lingering impression, as any art worth making

Introducing USA based artist Jon Linskey aka ‘Sectra’ to Tectonic! With a truly unique sound, Sectra’s music sits among the crushing, claustrophobic weight of Shapednoise drone spaces, the percussive dexterity of a Detroit techno wizard and summoning the power of DMZ with sub bass sonics designed to hug your ankles.

‘A Demon In My View’ runs at a dangerous 90bpm, a total night stalker of a beat riddled with menace and the deep stench of fear. You will be scared, but that’s OK, we’ll get through this. ‘Counter Culture’ runs at 126bpm and projects us far out into distance space for a Sci-Fi adventure to a distant galaxy with a techno shaped rocket to propel us out there (well, there’s a 4/4 kick in there at least..).

Flip for ‘Ashes’ where we get a hint of dubstep influence melded with mangling technology and more perfectly placed sounds. Lastly we turn to ‘Bedlam’ which takes the pace down a few notches and we find ourselves hypnotized in a half-step, rocking gently, wrapped in a blanket, slowly shaking off the trauma.

* This is the second of the 6-volume Surgeon reissues label SRX.

* Recorded one night almost 20 years ago after a bottle of whiskey, Pet 2000 imagined a future of mutated, mechanical
animals. The title was inspired by an actual pet shop in Nottingham.

* Played by every techno DJ back in the 90's, it can still burn a hole in any dance floor today.

* A few words from Surgeon about the SRX series:

* While searching through old DAT tapes I was shocked to find how clear and dynamic many of my early tracks sounded,
not the way I remembered them from the vinyl releases. Those early tracks, recorded 20 years ago, were mastered and
cut by people who had no understanding of electronic music. I actually remember cutting a dubplate back then and being
asked if my track was "supposed to sound like that" The engineer was so disgusted at my music that once the cut star-
ted he left the room until it was finished.

* Although some of these releases have been repressed many times over the years, they have always been from the ori-
ginal plates from those early cuts; none have ever been re-mastered and recut in their original from. So I began carefully
transferring everything from the original DAT tapes and working closely with Christoph Grote-Beverborg from Dubplates
& Mastering in Berlin (who's been cutting my all my releases since 1996) to present this early material as it was originally
intended.

* Along with the early Downwards releases, I found high-quality unreleased tracks from that time as well as releases that
had only been issued in limited pressings; those too are included in this project. For the packaging I commissioned Ken
Meier and Yoonjai Choi from the New York design firm Common Name to create some sumptuous sleeve art.

Serpentinenartige Grooves, rasselnde Bässe und clevere Melodien – die kraftvoll-hypnotisierenden Tracks des Pariser Produzenten Sylvere mit Wurzeln in Französisch-Westindien fangen die magnetische Kraft der Soundsysteme ein und machen ihn zu einer der aufregendsten neuen Stimmen der Bassmusik. Mit dem radikalen Kunstkollektiv LA CREOLE zelebriert er den unauslöschlichen Einfluss der Kultur und Identität der Karibik auf die moderne Dancemusik. Seine Parties und RinseFM-Radioshow schlugen schnell Wellen im globalen Untergrund (Dazed & Confused, The New York Times, u.a.). EP3 ist der letzte Teil einer EP-Trilogie für Monkeytown und der perfekte Abschluss einer Serie, die Sylveres Vielseitigkeit und Können als Produzent unter Beweis stellt.

Musique Pour La Danse is proud to present this 2 x LP limited edition reissue of THE PURPLE UNIVERSE, an album originally released in 1993 by Swiss duo SYNECTICS (Marco Repetto & Stefan Riesen) on legendary braindance label REPHLEX ran by Richard D. James (Aphex Twin) & Grant Wilson-Claridge. Bearing CAT number 06, this early release is one of Rephlexs best-kept secrets. We are re-releasing the album in a lush limited 2 x LP edition which includes 3 tracks from the CD version, never available on vinyl before.

The year is 1992. Electronic music is experiencing a golden age of sorts. Equipment, inspiration, people, and music are less and less tied to specific places and scenes. Cross-pollination has just begun. Marco Repetto is driving somewhere in Bern, the car stereo locked on Radio Couleur 3. The Young Gods are being interviewed, and the pioneering Swiss industrial band mentions the word psychedelic enough times for the driver to take heed. Inspired by a magical performance by the same band a few days later, he decides to experiment by injecting a dose of psychedelia into his techno productions. The result is The Final Moment, a 24-minute trip which begins as a club track before quickly turning into an ambient and yes, psychedelic tune, reminiscent of progressive rock forays but entirely synthetic, with an unusually long length for the era, clocking at 24 minutes.

Repetto then meets Riesen, and the pair produce more tracks in the same vein. While some are resolutely geared towards the dancefloor, others would not be out of place in a chill out context while some are more ambient, even experimental pieces. Demos are sent to labels with The Final Moment accidentally included in the package. Rephlex was enthused with all tracks on the release but was especially impressed by The Final Moment and released THE PURPLE UNIVERSE soon after.

This album is of course neither the first nor the only one to blend electronic music and psychedelia, nor is it the first attempt to push the limits of dance music through experimentation. However, its sincerity and candid approach are immensely touching. It is a reminder of the sort of naiveté and creativity prevalent in the pre-Internet era. Today, scenes, ideas and styles seem so porous, but there is no doubt that this record must have felt like the soundtrack of two worlds and two aesthetics colliding with glorious results, that of hedonistic club music on one hand and psychedelic experimentation on the other. It is ironic that a Swiss duo can be credited in part with writing the template for post-Detroit British techno, proto IDM and braindance. But it is not surprising either that this record was originally released by REPHLEX, a very logical decision in hindsight.

THE PURPLE UNIVERSE is a versatile album. It contains a few club-ready bangers full of emotion, some more experimental cuts that feel both introspective and forward-thinking as well as THE FINAL MOMENT, a universe in itself and a masterpiece of sorts, an important artefact of a time where it became more and more obvious that electronic music and dance music did not have to be safe, straightforward or tame. Much to the contrary.

Samo DJ's label Sattaoja is back with 2 mesmerising strokes of genius from Beau Wanzer. Strictly limited to 200 copies worldwide (100 copies through our distro) and made with love in Sweden. You'd better hurry!

Cotenius X is an exploratory improvisational project of the Ukrainian sound artist Daria Redkina and the Russian experimental vocalist Varya Pavlova aka Lisokot. Improvising together since 2017 they incorporate folk, electronic and musique concrète elements into their spontaneous compositions. “Plastic Bag” is a testament to collaboration - an archival reflection of the time the duo spent experimenting together. Their theatrical performances involve impersonation or adoption of different characters and are informed by social, political, historical, and site-specific narratives. The duo has been compared to The Residents and see themselves carrying the psychedelic absurdity of the US group forward by giving it a feminine twist.

Melcure presents his eighth vinyl release produced by Erell Ranson.
French artist well known for productions on labels such as Kalahari Oyster Cult or AW-recordings, he has been producing music since the late 90's influenced by the Detroit sound.
In this opportunity Erell proposes a complete 4-track ep showing once again the best facet of him exploring from deep melancholic forceful sounds to techno

Stefan Schwander better known as Harmonious Thelonious is a mainstay of DISK.


In fact, he helped starting off this label in the first place so we are always happy to publish his stuff, which never fails to deliver what DISK is all about: Challenging tracks for the slightly too adventurous prime-time-DJ!

Metro Tribe delivers three deep club bangers of trancecending (sic!) quality!
Two of which feature in alternate versions to suit selectors’ needs.

Relating to Harmonious Thelonious' playful approach towards what could be labeled exoticism, the screen-print on the front-cover features a 1930s envisioning of the ideal atoll within the southern seas for a popular scientific publication. While the back-side features the drawing of the skeleton of a long extinct fish from a perspective reminiscent of the archetypical Janus, the ancient god of beginnings, transitions, passages and endings!

Us here at DISK genuinely hope this release brings you listening and dancing pleasure!"

Dark Blue Marbled Vinyl


Johnfaustus is shaping electronic dreams at your disposal. Enter the cabin and let them guide you into their translation of energy and emotion!

2024 Repress

2024 Repress
Grey Marbled Vinyl

Focus mode to the fullest. Berlin-based Lars Huismann strikes back on Voxnox Records, with his four-track EP "Take The Step".

Self-titled "Take The Step" kicks in first by delivering filthy hat shuffles on even nastier drums and a growing arpeggiator line. With small, yet effective vocal pieces emerging over the place, mysterious pad shapes build a tremendous climax ready to roll further into the future on this one. It's a Voxnox Fam thing with this perfect introduction!

With "Not The Same" stepping up next, Huismann showcases an ever-evolving percussion line on top of some tasty claps and flowing synthesizer plugs. Small voice parts enter the situation too as we get into deeper, atmospheric vibes bringing us a never stopping joy.

And so it's said that the B-sided "Bulletproof" takes nothing less but marching drum patterns and melody glitches coming out of nowhere to prove a forward-directed vibe afterwards. Eventually taking us back to the good old raving area, where eclectic synth lines were the regular state, followed by clever arrangement moves.

Rounding up this EP is the delivered "Bulletproof" remix by Manchester's powerhouse AnD. Taking a faster pitch on the original stems, this remix is a forward-moving rave machine par excellence. With synthesizers marching around the room, proofing that nothing can stop them, we get lost inside this epic round up for the 44th Release of VNR.

Large Hall Records (named after the reverb preset) – is a new leftfield electronic record label operating out of Haggerston, East London. (tho originally from Canton, West Cardiff) "Garage Planet" (LH001 is their debut release from Nye, it's got kind of a dancey/gnostic/psychedelic flavour to it. (The "Hall" in our label name also invokes the primeval cave of early human shamanic experience!).

Parallel Minds' 4th label release comes via a long-time friend of the label and one of the city's most idiosyncratic artists, Vibrant Matter. A drummer, producer, film composer, DJ, and a veteran of the city's experimental pop scene, Kieran Adams' music has intrigued us at the label for a long time. From label co-founder Ciel's early days as a local promoter/DJ, she had been inspired by Adams' psychedelic & percussive DJ sets and found a kindred spirit in someone who shared similarly diverse musical interests. After two distinct & spellbinding releases on ACT!’s (fka Egyptrixx) Halocline Trance and beloved experimental label Seance Centre, PM cofounders received a batch of demos from Adams that felt too ideal to pass up. Encompassing everything from abstract improv performances, sound poetry, dub riddims, voice notes from friends, jazz drum breaks — the tracks were simultaneously confounding while still firmly rooted in club music.

Syncrete began in 2019 as sound experiments made with the artist's newly purchased Moog Matriarch. Chopping breaks, working with field recordings, and utilizing the instrument's delay, gate, filter, Kieran recorded himself doing long jams of synth and percussive textures that were formed into new rhythmic sequences and variations. Two years later, he went back to those sessions and plucked out his favourite loops and built new tracks around them, which you find here in this collection.
For Kieran, this was an exercise in distillation and shedding, aided by the passing of time. In following this process, he was able to combine many different facets of his interests, and with time, pinpoint the most touching parts of each recording. There’s this really beautiful and haunting quality when for a moment through the fog of these compressed sounds, you can momentarily pick out a human voice, or a distant echo of a breakbeat, this feeling of a barely discernible shape in the sonic mist is what gives the EP a haunting emotional resonance & distinct musical texture.

EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.

The eclectic package will include such notables as Glaskin, Arjun Vagale, Nadia Struiwigh, Mathimidori (dub alias of Mathias Kaden), Maral, Decka, Carl Craig, Truncate, Drumcell, Chris Liebing, Radio Slave and Luke Slater who have all given the original music in their own unique style.

With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy Award-winning (2001) duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works, ‘RibCage’ (2007), ‘Emissions' (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Grindhouse’ (2009) remix from Radio Slave which led to a host of other notable projects over the years.
Collaborative work highlights include projects with Miss Kitten, Luke Slater, Flug, and Oliver Huntemann, as well as co-producing two songs on Underworld’s Barking album. A true artist, he has always been heavily invested in exploring performance technology, unveiled to wide praise with his HYBRID live show. A two-year world tour commenced in 2015 and was followed by his retrospective album, A Decade Of Dubfire (2017), a celebration of his immense output during the first 10 years of solo artist stardom. EVOLV is Dubfire’s debut solo artist album.

Black ice fused emotions transduced to power noise shedding shadows on the imminence of human apocalypticism.

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Jay Lumen is back on Footwork with his brand new release. Inspired by his amazing India tour.

He had very positive experiences and he recreated the vibe as soon as he arrived at home.

Enjoy and mind your Footwork!

Fixed Rhythms is proud to welcome back to its roster one of their closest allies in sonic liberation, New York City’s Mali Mase, this time under his new techno alias MAL.E. Fixed Rhythms released Mali's "Travel International EP" under his beloved Sweater On Polo moniker. This go-around it's time to crank up the BPMs and stomp. This is serious techno but not for the serious techno chin-scratchers...calling all dance-floor freedom finders...hear the call and answer with your feet!

This 12" includes the melodiousness and let-us-laugh-while-dancing feeling that you know from many nights.