Techno Новости

Repress

Remastered reissue of the classic Sunbeam and Fictional Frequency tracks by Duplex. Previously released on the now defunct Frantic Flowers label.

This first release is the birth of Rambadu as an artist and a label. "I Himal" takes you on a journey to a mystical and vibrant place high in the Himalaya's. Sensing the energy of the people and surrounding mountains, he creates a ritualistic dance of natural and electronic resonances. "I Himal", is a grounding beat with hypnotic singing bowls that pull you in and out of another dimensions. "Mescam", showing the inner depths, floating through space and time. "Adoor" (vinyl-only), re-connect with your mind.

All sleeves are hand-made with love!

After their much heralded debut on the label with last year’s Music Mission EP, Italian collective Babe Roots returns to V.I.V.E.K’s System Music with a brand new four track project entitled Through We EP.

No Waves return with its seventh release that brings you
Pure Dub techno from Stephan Bazbaz & Per Hammar

Another Repeat Repeat Repeat outing, another ILK reissue. EP 3 was licensed along with Four Freqs EP to round things off. This time breakbeats dominate over the 4/4 patterns with the help of "Phase 2" and "Qwerks", but "Vicious" reminds us that linear grooves are still in the game.

Following on from the deranged machine mulch of the Cru Servers we proudly announce the second record on the label to emerge from our native south side of Glasgow. Lo Kindre is the solo project of Irish/Luxembourgish bedroom producer, amateur footballer and award-winning bartender Daniel Magee. Crawling out from the undergrowth at the speed of a snail with dreadlocks this six track EP builds upon his previous venture for Optimo Music and manages to enchant in many of the same ways. Chlorophytum ticks all of the right boxes, sitting somewhere between a budding sci-fi homage, drum machine escapism and a fascination with the motorik styles of West Germany and the wider On-U continuum. Lo Kindre's sound has recently developed by way of countless hours spent twiddling with delay units alongside vintage Italian football commentary and murky casks of Tennents, and has culminated here in the following six tracks. The seventh 12th Isle now ecstatically morphs from our galaxy into yours.

prime time dubby techno for mind, body, and soul. vinyl only.

Not wanting to rest on their laurels, Vertex follow up with a heavyweight double 12” remix package titled 'Changing Seasons'. Featuring 5 reshapes of tracks taken from the original album, they’ve drafted in the highly regarded talents of ASC, G.R.I.T., Mike Schommer, Ohm and Gudmundsson to etch a fresh set of retakes and give the original project a new perspective with a great emphasis on the club environment.

Founded by Matthias Schildger & Carlo Ietri in 2013, Repeat is finally ready to conquer the world and bring it's sound to all music lovers out there.
The first imprint of the new label was made by Wigbert // Matt Star & Marvin (incl. Dorian Paic, Dragosh Rmxs) and is called - Play, Stop, Repeat'. It will be out very soon on vinyl and digital.
With the label comes a new booking agency which contains a nice mixture of already well known artists and a few fresh and talented ones.

Here a little overview what you can expect from the first release - Play, Stop, Repeat':


Wigbert - Destroy me:

Wigbert unleashes a monster of a track with - Destroy me' on the dancefloors worldwide. Powerful beats combined with hypnotic rhytmic and some dark vocals will shake your body for sure! This tune will destroy some speakers if you are not careful with the volume... :)

Dorian Paic Remix:

Dorian Paic transforms Wigberts tune into a more happy and melodic but not less uplifting setting with the addition of some nice piano chords. It will put some sunshine into your hearts!

Matt Star and Marvin - In the Trees:

Matt Stars long experience in production combined with the freshness of the very talented Marvin resulted in this deep and groovy track driven by some nice drums and a fat bassline. Dark Athmospheres meets broken beat dubbish minimalism is the best way to describe it.
This track will go straight to your bones!

Dragosh Remix:

Dragosh's interpretation of - In the Trees' is a more percussion orientated track wich will put a lot of smiles on the faces of dancers. Crispy, rhytmic and simply good.

And now, Play, Stop and REPEAT!!!

Following on from the success of 2020's 'Inside' EP on Livity Sound and previous releases on UK labels Cong Burn and Blank Mind, Manchester's Lack returns to Livity Sound with a brand new EP of hybridised and dubbed techno cuts.
“I wanted to try and create a sense of space or calm within the tracks, even if only subtle. I suppose it was a reflection on the crazy state of the world and needing to find space within myself to stay grounded and get through it”
From the deep bass and irresistible skank of Grapefruit to the rapid yet ice cool propulsion of Microshift and the spacious yet energised rhythms of Make It Circular and Constant, this new record further explores Lack's fractured techno aesthetic, skilfully joining the dots between broken dub techno and vintage dubstep.

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.

COLOURED VINYL


Echocord’s Colour series returns late April with the ‘Epibenthos Mbira’ EP by Hess & Harrison. Detroit’s Luke Hess has long been a respected name in underground Techno, releasing on the likes of FXHE, Deeplabs, Minimood and of course Echocord, here we see him joining forces with fellow Detroit native Joshua Harrison under their new Hess & Harrison alias for a fresh four-track EP on Echocord Colour. ‘Benthos’ leads, merging snaking dub chords and swirling white noise amidst robust drums and acid-tinged stab sequences. ‘Hadal’ follows next, embracing a more dynamic feel to contrast the groove-driven opener, this time round the duo lay focus on expansive reverberations, elongated delays, hypnotic strings and subtly nuanced textures throughout. ‘Nekton’ kicks on the flip-side, delving even deeper via driving low-end tones, murky atmospherics and shuffled percussion before ‘Upwelling’ rounds out the EP, bringing things back to a more loop driven feel as bubbling echoes, gritty bass stabs and sharp chords ebb and flow around crisp drums.

Following his ‘Voyage’ EP on the label last year and his “Endlessly” Single this year, Markus Homm returns to Bondage-Music once again for another stunning release with his unique deep & grooving style. 

Markus Homm constant mingling of styles and histories creates a unique and exciting sound. Markus’s productions and DJ sets bear the traces of his musical evolution, from the uplifting vibes of classic house to the crisp precision of underground techno. „My life is about dancing, grooves, and music,“ he says. „Great music should get you in the mood, without you even realising it. That’s what I want to do.“

His new EP ‘I Don’t Blame You‘ accompanied by a remix from Djebali contains 2 vinyl only tracks.

*Repress*

Pitch Black’s Futureproof, a landmark in New Zealand electronica, finally gets a vinyl release 23 years after it first came out.

The album distilled two years of relentless touring of New Zealand into a sweeping colossus full of epic soundscapes and rumbling basslines, pounding rhythms and mind-bending effects, showcasing Pitch Black’s dubwise styles to full, bass-bin busting effect.

Vinyl Only

Sascha Dive was last spotted on Bondage-Music earlier this year with the deep hypnotic pulses of ‘Dark Night’ on ‘Bondage Games 5’. So it’s fitting he returns with ‘Detroit Sunrise’ and, as sure as day follows night, it’s every bit as deep, pulsing and hypnotic as you’d expect from the Frankfurt craftsman… 

His first full EP for the Leipzig label, we open with real talk. ‘Detroit Sunrise’ warms up with broad, swinging drums, rippling textures and a crucial spoken word sample every single one of us should consider. It sets the scene for two classic Dive deep adventures as both ‘Dub Chronicles #1’ and ‘Dub Chronicles #2’ both roll out with subtlety and understatement. Layered, absorbing and endless; timeless tools made for those deep mix moments of magic. 

Last but not least, we end on an upbeat. ‘Ghostdancer’ takes more of a sprightly, light-footed note with an upward-spiralling arpeggiated riff, gentle ebb and flow chords and a light peppering of cosmic flurries. Ghoulishly good. Like all things by Dive and Bondage-Music. Don’t get tied down, get tied up…

In life everything is cyclic. It’s said, the wave is the most essential form of creation existing in nature. People, moments, come and go…it’s the law of life. But, in reality, the cycles of our life are all linked together, while one is closing another is opening. 012 (twelve) is a new cycle, a new space dedicated to sounds and art.

Highly Recommended!
Airual is the new record label by Mario Lauriano a passionate Italian expat living in Berlin for almost a decade. Deeply influenced by the House music played in the clubs of Neaples in the late 90s, he has
always loved vinyl and intimately pursued an extensive knowledge of analogue and digital hardware.

“Dubra Tape” and “Philatrop Philosp” are two hefty gems of devotion to the true dub Techno sound of the German capital, enriched by a contemporary taste for Elektron’s spectral qualities. Nobody better
than Dj Pete a.k.a . Substance could rework “Dubra Tape” with his majestic sub basses and equisite sprinkled chords. Finally, The Analogue Cops transform “Philantrop Philosop” into an Infinitesque
quick paced tribute to the Motor City pioneers of electronic dance music.

Mastered by the magical Marco Pellegrino at AnalogCut Mastering Studio.

(RSD 2020 Exclusive) (pressing 1000 copies, white coloured vinyl) This killer album was originally released only on CD format in 1998, and now on vinyl for the first time - over 20 years later + 2 bonus tracks!This album includes the killer ‘Prowling Lion’ known by everyone across the Dub and sound system scene! Played heavily by all top sound systems!

Exploration is back! Johannes Volk continues the journey with a new 4 track EP on his own imprint. The title track is a long upbuilding peak time smasher with strong reminiscences of early Detroit Techno. A2 delivering raw and dirty machine madness with a subtle bleep funk around stomping drums. The flip side comes with 2 driving Dub Techno tracks, filled with heavy bass, emotional soundscapes and an complex sound architechture.

Vinyl Only // 180g Vinyl

Following his beautiful ‘Detroit Sunrise’ EP on the label last year, the inimitable Sascha Dive returns to Bondage Music once again for another deep frequency encounter.

The safe word is bass as Sascha picks up where he left us with two ‘Dub Chronicles’ tracks on the previous release. Now comes the third; a lavish, unhurried exploration ‘Dub Chronicles 3’ lights the fire with hazy, hypnotic charm and a spoken word well known to those familiar with the foundations.

What follows is a trip that grows in intensity and emotions. ‘Cornerstone’ is a beautiful 11pm track; fleet of foot in the kick department and arms aloft in the vibe department. Total elevation. ‘Ancient Tribal Drums’, meanwhile, takes us much deeper into the night. That rolling conga line will tie you up just the way Bondage likes it while the dubby echoes provide sense-tingling relief… Before the finale takes us to even dreamier heights. Living up to its name, ‘It’s A Groove’ brings the elements of the whole EP together; the dubby hypnosis, the warm, driving beats and that unique sense that you’re not quite tied into any reality while Sascha plays. The chronicles continue…

Yet more fresh heat from the Soundscape Versions camp and this time round with a special tentrack compilation by different artists across the globe with wide scope of electronic music produced and performed using all analog hardware gear. Release comes out on
c70' cassette and digital.

Does anybody know What Robot Says?

Limited. Vinyl Only.

ManooZ returns on HOUSEWAX with another great release.
The EP #2 contains also fanstastic remixes by Agnès and Paul Deepnlow Moore.

Repress

Punctual like a Swiss watch, Driftmachine presents a new album that once again astounds and delights. We know their trademark: solid mechanical percussions, forceful bass and melodies systematically built around circular patterns. "Spume & Recollection" is the sixth Umor Rex album by the Berlin duo, and what better way to celebrate the label's 15th anniversary than with a new record from the masters of labyrinthine cables and patches. Regarding "Nocturnes" (UR 2014), their debut album, we described their sound as precise and symmetrical, identical concrete blocks mounted and articulated in a random order. Their already obsessive style continued to evolve with their third record, "Colliding Contours" (UR 2016), now pushing further into abstract dub, ultra-tense grooves, and even more kinetic loops, moving further away from conventional musical structures. Between these two albums they released the remarkable "Eis Heauton" (UR 2015), a kind of hypnotic experiment informed by shadowy atmospheres, chance, and an intuitive dialogue with their musical machines, a unique situation in which they acted as bemused observers in hunt for epiphanies, resulting in an exquisite amalgamation of lucid dream-logic and mechanical precision. A one-of-a-kind soundtrack for minute and wordless scenes unfolding in pitch-black back alleys and hidden, alchemical basements. A similar map was explored with "Shunter" (UR 2018), a superb secret meeting between avant-garde phantasmagoria and concrete experimentation. "Radiations" (UR 2017) offered B-sides and bonus tracks, in addition to collaborations with Shackleton and The Sight Below, a kind of preamble that united Driftmachine’s different expressions and leanings.

When Andreas Gerth and Florian Zimmer come up with new material, one listens with high expectation. Looking back on their discography, one could safely anticipate a high quality album densely layered with their familiar leitmotifs. And yet, "Spume & Recollection" takes us by surprise and finds a new way to transfix. Fresh methods and ideas are introduced to their dynamics and formula. Yes, of course, you can still expect a healthy dose of kosmische, which is one of the dominant features in Driftmachine’s DNA; but this is now entwined with novel materials, semi-material patterns of alien code stretching over exhilaratingly tense and detailed grooves, clouds of gas shifting on top of deep dub architecture and blocking out the sun for prismatic effect. Even more of a surprise is the immediate, streamlined nature of these tracks, making "Spume & Recollection" their most accessible record and, perhaps, the most addictive (and this without sacrificing the essential mystery and strangeness at the core of Driftmachine’s sound).

We have previously described their work as post-industrial-dub; right now, we might just call it hypno-music for man and machine to dance and dream together. "Spume & Recollection" takes this concept as far as it can go without breaking, and finds some strange new feelings, and weirdly danceable grooves, to shed some light on this dark and dazzling ride.

All songs written & produced by Andreas Gerth & Florian Zimmer in Berlin Mastered by John Tejada Artwork & Photos by Daniel Castrejón

Esaïa is a close friend of the O.B.F crew and we’re super excited to release her debut EP “Origin 4000” showcasing her own dub / techno induced sound!

Clear Vinyl Repress

This album has its origins 17 yeas ago in early 2000, before Chain Reaction released the legendary Ship-Scope 12'. Three of the tracks here are taken from an acetate cut at Dubplates & Mastering at that time but which wouldn't see the light of day until now, including another batch of tracks taken from original masters. Only 5 copies of that acetate were ever made so this is the first time any of these tracks are available for public consumption and, for our money, rank among the finest and
most distinctive in either the Chain Reaction or Shinichi Atobe's vaults.

The material is effectively some of the Japanese producer's earliest work, showcasing the sort of tender, feminine pressure that would bubble up on the Ship-Scope EP and later be revealed in his new productions, Butterfly Effect and World yet, for many reasons, they would lay sunk in his archive for the next 17 years.
The tracks taken from that acetate are labelled First Plate 1-3 and really are quite remarkable, having taken on so much character and added weight over the years that the incidental crackle
of surface noise imbues proceedings with an added dimension that's hard to fathom. It basically sounds like a lost transmission making its way from Paul-Lincke-Ufer at the turn of the millennium
to a new, completely changed world all these years later.
The patina of crackle lends a mist-on-bare skin feeling akin to summer garden parties at Berghain in the stepping First Plate 1, and gives a foggier sort of depth perception to the hydraulic,
Maurizian heft of First Plate 2, but it's the submerged euphoria of First Plate 3 that hits the hardest; a heady, bittersweet reminder of days gone by.The other four tracks are crisply transferred from master tapes, relinquishing a sublime, impossible to categorise House variant that recalls everything from DJ Sprinkles to Ron Trent, yet with that weird, timeless production tick that by now has become something of a signature for this most distinctive and hard to categorise producer.

Sapurra is back on Pro-Tez with the super deep and dubbed out four tracker “Better Call Soul”. Think smokey hazy dance floors in the morning where only the strong survives. Killer ganja rollers. 180 gram and vinyl only release as usual.

A new incredible artist on Sushitech Records, timeless Berlin deep techno! Vinyl only release!

There’s something new under the sun. If you look at it closely,
something new is only (and always) created at crossroads –
when different and signi¦cant traditions are connected and
combined. On their own, these traditions have often existed
for a while. However, in this new form they have never
appeared together. The latest manifestation of something
new can now be found on the album “No Future Dubs”, the
interpretations of “No Future Days” – the most recent album
by German band Messer – by Finnish producer and old
friend of the group Kimmo Saastamoinen aka Toto Belmont.
The intentional traditions that merge on this grand and
digni¦ed album are post-punk, dub and techno. A new
chapter in the culturally constant narrative of dub is written
here. Through their past and parallel activities in hardcore
and post-punk bands, Messer drummer Philipp Wulf met and
befriended Kimmo, originally a drummer too. In their
continuous dialogue discussing their musical journey, Philipp
and Kimmo over the years more and more immersed
themselves in the aesthetic possibilities of dub and reggae.
Indeed, lots of musicians do not listen to the type of music at
home that they write and play in their respective projects
(Take me as an example: House is the music that I produce
and put on as a DJ. On my own, I listen to various stuff,
music by Monk and Messer for example). The same applies
to the protagonists involved here. By discussing dub und
through Toto Belmont’s steadily increasing producingexpertise, the idea of creating dub versions of selected
Messer tracks was born. The Messer album “No Future
Days”, released in 2020, proved to contain the perfect raw
material as the songs on this album are already produced in
a much more transparent way than on previous LPs – and
are hence more suitable for dub. Still, it’s a giant leap from
the originals to the dubs. These add a third dimension to the
described character of the post-punk/dub amalgam: techno.
The result is a sound that hasn’t existed before, especially
not with German lyrics (which scarcely, however, carry
meaning or messages here. Hendrik Otremba’s voice is used
more like an instrument, as if he was the ghostly ¦gure which
he often sings about and which now §oats and screams
through the sound space). The history of mutual contact and
in§uence of (post-)punk and dub (reggae), which Messer
have kept on writing, is glorious and reaches back far in
musical history. Still, it has always been a rather marginal
chapter not only in punk but also in dub history. But already
in the beginnings of punk (the British version, less the
American one), the presence and in§uence of reggae was
obvious in many places as both are united in their resolute
attitude as rebel music. This is how the two genres
recognized each other – especially the punks regarded
reggae as rebellious. As is known, already Johnny Rotten
mainly listened to dub in private. By using the name John
Lydon, he then – together with bass player Jah Wobble –
established the group PiL as one of the most exemplary
bands at the crossroads of dub and punk. The Slits, Pop
Group, Killing Joke, The Ruts and last but not least The Clash
along with the Mick Jones offshoot Big Audio Dynamite –
the thriving British music scene in the early 80s was full of
dub-in§uenced acts. The echoes meandered everywhere. In
the USA, it took longer until the in§uence of dub became
noticeable and it has never been as distinctive as in the UK.
The history of US hardcore, however, cannot be told without
bands like Bad Brains from Washington D.C. who on their
albums occasionally inserted conscious reggae and dub
tracks between breakneck hardcore tracks. Another
important group is Blind Idiot God who similarly included
dub tracks on their LPs – the contrast between densely
droning rock tunes and widely breathing dub versions can be
experienced very vividly here. In the 90s, dub’s in§uence on
post-punk decreased while turning up even more distinctively
somewhere else: Techno was in many respects susceptible
to dub, to say nothing of the music from the so-called British
hardcore continuum (jungle, drum & bass etc.), which directlydeveloped from dub and reggae. But also “pure” techno –
meaning techno without breakbeats – discovered its a¨nity
for the possibilities of dub at an early stage, in England for
instance in projects like Left¦eld or The Orb. In addition, the
project Rhythm & Sound was established in Berlin with close
ties to the Hardwax record store. With regard to this project,
you can’t really say where dub ends and where techno begins
(or vice versa) because of the interconnection of the two
genres here – everything is based on the steppers pulse
which links the two styles like a common DNA. With dub
techno a new genre was created. Until the present day, there
are producers who don’t produce anything else and DJs who
don’t put on any other music. The Messer dubs are
characterized by a grand majestic manner and force that
presumably someone like Mad Professor is able to produce
and that is also inherent in many Scandinavian productions
of the last 15 years; a crystal-clear aesthetic which locates
itself far away from Kingston or Brixton, but features a pulse
referring clearly to Berlin and Helsinki. The songs appear in a
completely new and deconstructed form, the instruments are
exclusively used as particles and raw material, not as riffs;
merely glaring guitar textures ¦ll the wide dub space. There
are many new elements that were added by Toto Belmont,
especially synthesizer sounds and drums. The ¦nal result
creates an enormous aesthetic power and dignity, and an
atmosphere you don’t want to leave anymore. “No Future” is
a well-chosen title as a reference to the protagonists’ punk
association; as a main thrust of the album, however, a
comma between these two words is imaginable as well.

Repress gold + white marbled vinyl

A foray into deep, organic, cinematic dance music. Subterranean bass, intercepted alien transmissions, and stripped down dance-beats meld with sheets of sounds that roll over the listener like waves lapping up on the shore. Shimmering, watery, brain hemisphere synchronization tones caress and melt stress away. Dance floor friendly tracks that work equally well in one s private listening space. Immersive music with a distinctive aquatic quality. Inspired by Detroit & Berlin s dance genres, but tempered by more ambience / atmosphere than one would expect from those genres. Music without harshness or rough edges. Fuzzy, out-of-focus, soft-sounds that slip in and out of the listener's consciousness. Uniquely melds current dance rhythms with lushness and spirituality. Synesthetic sounds that trigger sensory experiences in cognitive pathways other than hearing smells of perfumes, thoughts of colours, and altered perception of time and space. Psychoacoustic, cerebral, electronic listening music for those wanting a different experience than the current harsher, darker dance trends are offering. Responsibly made gentle music designed from the ground-up to have a positive effect on the nervous system and leave the listener invigorated and recharged. Chi-building sonic balm. Timeless, exotic dance tracks for a new school of electronic music enthusiasts who are searching for beautiful sounds, crafted with a higher purpose in mind.

With the 10th release of our colored vinyl series we bring you the Decade Dubs. Bristol based new artist El Choop opens the edition with pulsating chords and synths in his track Unknown Landscape. Italian producer Hydergine takes you on a psychedelic mind trip with his energetic deep techno track Blue State Of Mind. The flip side starts with Etui Records label head Insect O. With his dirty chords and wired echoes he is telling you the mystic story about the Ancient Architects. And finally Monomood returns to the label and proves his musically diversity. A mellow brass and a deep bass will give you goosebumps when dancing on the afterhour or just sitting in a smokey jazz bar. The artwork is done by graphic designer and musician Daniel Madlung aka Dandytracks. Its based on a photo of the Sea of Sand at Indonesia s Mt. Bromo volcano, taken by Insect O.