Techno News

Artreform opens new year with stunning tech-house release 'Affair' by label's head Joss. Including trippy and groovy remix by legendary G-Man!

Repress

Deep space techno tracks from beyond by Boston's Deviere (known from Jamal Moss' Mathematics records), approaching like a time capsule from an alien past and a bullet into that forgotten future.

Earl Gateshead retells the story in a different style as Babe Roots reconstruct the rhythm with a spiritual dub vibration.

Der Kanadische Wahlberliner Nathan Micay (aka Bwana) Präsentiert Sein Debütalbum Auf Lucky Me. Nach Releases Auf Whities, Esp, Aus, Cin Cin Und Dj-sets Für Resident Advisor, Essential Mixes, Boiler Room, Kreiert Micay Nun Eine Neue, Verjüngte Schnittstelle All Der Elemente, Die Zur Magie Von Future Sound Of Londons Rave-hybriden "accelerator" Beitrugen (prog, Trance, Techno, Hardcore, Jungle, Idm, Ambient). Verpackt In Ein Hochmelodisch-komplex-spaciges Sound-design Klingt "blue Spring" Wie Ein Inspirierter Technicolor-trip Durch Sub-bässe, Future-breakbeats, Dancefloor-rollercoaster, Erhabener Euphoria, Ausserweltliche Klanglandschaften Und Sogar Ein Wenig 3/4 Zeit.

The official soundtrack from the Netflix movie 'Kidnapping Stella' gets remix treatments by dub techno mastermind Vril and Berlin local Anja Zaube on the A-side, as well as DUATRECORDS labelheads Amin Fallaha and R100 on the flipside.

Eduardo De La Calle s recent Distortion Theory III EP on Abstract Reasoning was another impressive piece of work from the prolific producer. Now come four diverse remixes of the title track, each with their own unique twist on the warped machinations of the original.

J - Keel kicks off proceedings with a droning, tense interpretation which toughens up the original considerably. Reversed chord stabs pitch up and down as ominous bass bores a steady course through the track s underbelly, with ticking percussive elements ensuring a motorik pulse.

The masterful Roman Fl gel teases out the chime motif of the original and supplements them with muted marimba-esque arpeggios for a soothing, underwater feel. The beats are kept to a succinct minimum, with subtle swathes of strings bringing a majestic, dreamlike tinge to this refined, minimalistic production.

Fellow Spaniard ORBE brings an ambient feel to the hazy, delicate melodics of his mix, with the delayed, warped synth patterns that struggle to be heard and beautiful atmospherics recalling Carl Craig. Moments of distorted pressure seep through and remind us of the buggedout flavour of the original.

Holland s Conforce rounds things off with plump low end throbs and sparse synth pulses reminiscent of Basic Channel, with gently shuffling hi-hats underpinning the murky yet warm textures and broad, heavily reverbed swathes of chord drama.

*Limited Repress*

Belfast's EJECA debuts on UTTU's Dance Trax series with 3 originals plus a rework from Berlin based Berghain ghoul Matrixxman. 4 incredible dance floor bombs that touch on jackin house, detroit techno, trance & dubbed out berlin techno.

Andrew Weatherall turns in two thudding, low slung tracks. Expect clattering effects, outer space bleeps, and hypnotic bass. Andy Bell returns to join Andrew in the studio, layering a haunting, tripped-out guitar line over the top. File under cosmic dub. 1000 vinyl only. Remixes on the digital edition from Andrew’s Two Lone Swordsmen partner Keith Tenniswood, and Lithuanian taste-maker Manfredas. Mastered by Noel Summerville. Artwork by G.S-L Studio.

After the initial release from Transformations, the collaboration between Deepchord & Fluxion continues with the Bona Fide EP.The urban journey remains, with the duo challenging the audience with another colourful and sonically rich release. The duo has created their own multi-layering sound; a wide space cinematic environment.As before, two really engaging recordings that are not written with one specific environment in mind.

Review from Resident Advisor:

Expertly made dub techno for the dance floor.

Scott Monteith's last album, Wax Poetic For This Our Great Resolve, was both a lament and a message of hope for a world in turmoil. On that record, the Canadian artist embedded speech in an often instrumental form. On his latest LP, he's less poetic, reflecting not on the world around him but on a festival he played last year: Waking Life in Portugal. In the process, he's made some of his most straightforward dub techno in recent memory.

Waking Life has the same rich sound design that's characterized so much of Monteith's music. Lush synths glimmer in the dark expanse of the aptly titled "A New Sense Of Purpose." The gently percolating lead on "Waking Dub" evokes sunlight reflecting off a river. The 14-minute closer, "A Last Swim," is immaculate dub techno.

Waking Life feels made for the dance floor and flows like a night out, peaking with "A Last Swim." The LP's midsection is heady and nocturnal, with a tech house-inflected groove on "Midnight In The Garden" and a bleepy lead on "A Thousand Shining Stars" that wriggles and shimmies endlessly. Most of Waking Life has this feeling of perpetual motion, as if the whole record poured out of Monteith in a single studio session.

Waking Life may be Monteith's most satisfying work since his career masterpiece, Drawn & Quartered. Like that album, it strips down the Deadbeat sound to its core elements—house, techno and dub—the results of which are undeniable. But where Drawn & Quartered was almost intimidating in its heft, Waking Life seems intent to serve the kind of uplifting and communal experience that spawned it.

When was the last time EDMX served you what you expected? Maybe you drop the needle down in anticipation of some slick boogie-inflected synth pop and get walloped in the face with hellfire techno. Perhaps you were itching for body-popping electro and got cerebrally hijacked by pagan coldwave.

On this latest magnum opus, his first on Queen Nanny. Ed Upton is in the mood to get down low in every sense of the word. On the frequency range, this is a record dripping with lard-fed bass at every turn. The arrangements too are devilishly low in channel count – raw riddims with just a few key ingredients to do the necessary damage. Then there are the tempos, which predominantly set cruise control at 90 BPM and glide.

It’s not hard to tell where EDMX’s inspiration has sparked from on this album – in the spirit of celebrating the compatability of oddball sonics from all corners of the globe, he’s patched his sound into a specific vibe and struck gold with some of the most distinctive riddims you’re likely to hear all year.

Lithuania's Greyscale returns this December with Ohrwert's 'Fidelis / Blavus', backed with remixes from XDB and grad_u.

Greyscale was launched in 2012 by Lithuanian producer and DJ grad_u, and photographer Rima Prusakova, set up as a platform for material from grad_u and close friends whilst Prusakova's
black and white analogue photography provides the visual identity of the label.

The original mix of 'Blavus' opens the EP, perfectly setting the tone with murky, ethereal atmospherics, billowing dub echoes, modulating percussion and thunderous drums before DubTechno stalwart XDB strips things back a little with soft touches of the originals airy drones tucked away in the depths whilst choppy stabs and dynamically unfolding analogue rhythms wander throughout.

The second original from Ohrwert opens the flip-side, upping the energy levels slightly with hooky stab-sequences, filtered delays and hypnotic melodies running alongside a sturdy percussive foundation. Lastly to round out the release grad_u reworks 'Blavus' into a more groove-driven workout, employing shuffled hats, looped dub chords and bumpy sub-bass hits throughout.

Mastered at the legendary Dubplates & Mastering in Berlin.

Vinyl Only. Amazing dub techno with more than 10 min playtime per side. Music speaks for itself

This evocative amalgamation of deep emotive textures swimming around 4/4 kicks and sub-bass is MixCult Records Vinyl Only 007 release. This whole EP is glazed in cold haze and is a real provision on dark, long, icy dusks.

Side A1 by Sancess kicks off with an self-effacing minimal temperament, excelling with a very crisp and raw beat pattern.

Side A2 by Nae:Tek is a very bass driven and unrelentingly obscure deep techno premise, becoming the gut-punching dancefloor track of the whole EP.

Side B1 reveals a new whole version of David Hausdorf - Deep & Slow interpreted by Dmitry Stelmakhov with elegance and progressivism.

Side B2 by Gjidoda features a patient and slow burning foundation of dub sounds, an unflawed cut for a dramatic takeoff of a well-crafted musical journey.

Comment to come ...

This new serie of "Raw cuts" focus on a spontaneous desire to share some personal beats, sometimes, Deep such as "Mindshift", or more percussion and beats driven such as on both versions of Mandrum, and even Techno with Progression, i hope
you'll find them enjoyable and useful! Dj Deep

Lazare Hoche: « I like Mindshift and will play it out, great tension and infectious vibe! »
Roman Poncet: « Amazing Release will play it out! »
Ben Sims: Charted!
Levon Vincent: I like the Mandrum dub. Very nice
Jeroen Search: thanks, just downloaded it, and always feeling your stuff!!
Claire Morgan Solid! Love Mindshift & Progression, thankyou :)
Luke Slater Just great!! full support
Mosca Yes yes! Not often I go for a Main over a Dub but Mandrum is the one! Fine line between
classic stripped back stuff and futuristic freshness... love trax like this that can straddle both depending on context.

20 years since the original release on Richie Hawtin's M_nus imprint, Exalt Records reissue the minimal classic - Swayzak vs. Theorem 'Break In At Apartment 205' 12'.

The two main tracks from the original release have been remastered by Paul Mac and come on either clear or black vinyl with artwork by Grid Pattern.

Three years after the release of JS' 'REDUCTION 2 (PHORMA008), Phorma is now releasing its first remix EP. PHORMA008R features 3 stunning remixes by Volte-Face, Blazej Malinowski, and JS himself, offering 3 distinct takes on the original suitable for peak-time as well as the after hours. The record will be released as vinyl only with a sleeve by Hamburg's Maison Blessing, inverting the original artwork. First appearance of Volte-Face on Phorma Artwork by Maison Blessing (Dial, Laid) Supported by Etapp Kyle, Svreca, Eric Cloutier, Peter van Hoesen, Ness, Jonas Kopp and others

Originally a collaboration that started in 2004 between the talents of electronic music aficionados Michael Sickinger (USA) and Jonas Thor Gudmundsson (Iceland), Octal Industries has been sketching out cavernous sounding, glacial tinged, dub-infused techno that carries with it a unique radiance that is all too often missing from the genre. Now solely the oeuvre of Jonas Thor Gudmundsson better known under his Ruxpin guise, the Octal Industries catalogue spans over the last 15 years and totals nearly a dozen releases.

After a couple of meetings between Jamie (Exalt Records) and (Andy Verdant Recordings) bosses, the idea of a label collaboration seemed a natural progression for both imprints and ‘Vertex’ was spawned. To honour their common love of music that have depth, width and atmosphere, approaching Gudmundsson for material to kickstart their new venture was an easy choice for both involved.

As the title suggests, “Our Seasons” is a 10 track excursion into the soul of the Icelandic experience, a reflection upon the stark contrasts found in their natural environment. A collection of music that continuously morphs and throws down a variety of tempos and soundscapes over two records: the total sum retains a certain character that is unique to Gudmundsson’s touch.

Setting the scene on record one with the welcoming tones of “Borg Tekin”, you’re met with an expansive sonic vista that seeps into your consciousness - vocal elements calling back and forth. Like the passing of a restless midsummer night, “Thorp | Vanda” digs further down and focuses on the pulsating axis of sub bass and swirling pads that eventually find their peace. The heavy fog of “Roblegt” is more intense by contrast, the cyclical ambience closing in with little room as tension builds. “Dreki Flyr” eases back off: gentle curves, whispering synth patterns and rhythmic patter join as they flit through the night-air.



Switching to the second record, expansive percussion and glistening atmospherics characterise the dreamlike state and playfulness of “Forever”. After which you’re brought back by the slow march of “Winter Techno”, a reflective mood brought to the fore through icy shards of synthesis that take hold. As if waking from a deep slumber, the slow poise and airy tones of “Asleep” capture that peaceful, hazy moment where light breaks in and life begins to stir. The onwards and upwards feel is continued with the fresh energy of “Another Day”, the breezy composition bathing you in the warm glow of a summer’s morning. However, the juddering intensity and tones of “Lullaby” steep you in an almost unexpected surge of heat, before the closing notes of “Times fade” bring you back to an uneasy serenity that is somehow magically unerring – a perfect summary of Gudmundsson’s vision and how he feels the world around him.

Jonas’ recordings have been lovingly engineered by José Diogo Neves and cut by Curvepusher. Consistent with both labels passion for releasing beautiful records, Our Seasons presents commissioned artwork from Andrei Kedrin with layout by Grid Pattern.

The LP will be a limited 250 edition with bespoke artwork printed on 400gsm paper inserts, printed labels, stamped outer sleeves all housed in heavy PVC outer liners.

2x12"

Delsin are pleased to gather together some of the highlights from the rich and varied catalogue of Manchester-based producer Claro Intelecto. From his earliest works on Ai Records through a prolific run on Modern Love to his more recent outings on Delsin, Mark Stewart has continually presented a vision of electronic music that uses the Detroit blueprint as a launch pad for his own distinctive strain of techno. Moving from elegant beauty to rabid intensity while grounded by a firm sense of rhythm, his catalogue runs deep and wide. This expansive compilation filters out select highlights from across his discography, and reframes them as a compelling overview of a truly distinctive voice in modern electronic music.

It's time for the new release of Mate, the saga continues with "From Detroit To Madrid II".The Legend of Detroit Gari Romalis producer from Skylax, Housewax, Dockside... presents two tracks "No way around a groove" dives into the tech dub making a deep trip, and "Detroit on the move" is old school house track perfect for the dance floor. Rafa Santos makes his debut in the label with "Love Song" a house hymn straight to the heart,this melody give you goosebumps and " Mystic Voyage" with a full hypnotic chords and powerful rhythm....

We are both spectators and actors in the great mystery of existence.

Lay Down The Groove is proud to present its second vinyl VA release, "LDGV02 Night Spot". With the collaboration from Medu (Rewire Musik), Gabriel Ferreira (Items & Things), our label heads (this time appearing as Lay Down The Groove) and an unknown artist who has also worked with Tupiar Records.

This organic and clean selection of tracks has already been supported by Dudley Strangeways, Caceress, Martin Bellomo, Javier Ferreira, Miro Pajic, Dryclap, David San and many more.

Artwork: Juan C. Rodríguez
Mastering: Eternal Studios

For their ninth record TRUSIK enlists the German producer bhed whose long form constructions blend ambient, dub, techno, and dubstep into forms that stretch each genre’s signifiers to their breaking points.

Heavy-weather, beyond-good-and-evil soundsystem poetics, channelling raw and rootical techno, Isolationist abstraction, and dub at its most turbulent and raw-nerved and space-time-warping. New worlds ahead... Equal parts tuff, tail-thrashing dancehall pressure - see 'Hell Dub' - and art-of-darkness ambience and introspection, culminating in the slow-burning, third-eye-opening 23-minute dreamweapon, 'Vertigo'. Part of the Young Echo crew, Ossia embodies the best tradition of Bristol underground music in that he doesn't pay much mind to tradition, just does his own thing. Yes, Devil's Dance shares DNA with those sullen masterpieces we will always associate with the city, from blunted 90s street-soul/hip-hop to sub-loaded dubstep - but like his forebears Ossia is ultimately a mongrel breed, drawing from his own, very contemporary and idiosyncratic well of influences: grime, jazz, steppers, dub, post-punk and industrial abrasion, concrète minimalism... Devil's Dance could easily be not just a forbidding, but a suffocating proposition. But even at its most angst-ridden it feels lithe and aerodynamic, its darker impulses both intensified, and offset, by a pure soundboy's delight in detail and colour and higher dancefloor mechanics. The music pulses with energy, a fever to communicate...and Raki Singh (violin), Jasmine (vocals) and Ollie Moore (saxophone) add vivid flesh-tone to the punishing, plasmic electronics. The record was mixed at an infamous, subterranean Bristolian recording studio, using an arsenal of spring and plate reverbs, modded pedals, tape-delays and compressors: systems of black magic crucial to the album's intense presence and physicality and carefully modulated dread. In the end what we are witnessing, and experiencing vicariously, is a purging, an exorcism: find the devil, dance with the devil... and then chase, chase, chase him out of the earth

Subaquatic modular vibes. Vibrant Colors, peaceful textures. The feeling of swimming underwater, standing on
top of a mountain.

If early humans heard today’s music would they shun it or relate it to the constant struggle, brute danger and terrifying, preterite beauty of their world? On his latest Where To Now release, ‘Lowlands’, grizzled sonic voyager U goes some way to approaching and exploring this notion.

Far more dancefloor-geared than his last release for Where To Now?, (the acclaimed ‘Vienna Orchestra’), the EP opens with ‘Arctic Eden’ where slamming breaks somehow obliterate any trace of evoked dance music nostalgia as they are chopped to a perpetually rolling false start. The effect is visceral yet stilted, like a dog jerking to begin the motion of running from an ambient threat such as fireworks. Snares are sometimes overshadowed by clanging hits like a child gleefully banging on pans. This and the following 2 tracks are cryptic and primordial acid flashbacks marking the A-Side as the proverbial ‘edge of the forest’ where we can gather in relative safety and semi-familiarity, aside from the looming and dense periphery of trees and ill defined peril that lies adjacent.

‘Don’t Fuck With The Dragon’ deceives with its heavy kicked four-to-the-floor introduction before diving into a low-hanging smokescreen of murky synths that obscure pounding percussion and vague and muttered voices. A sawing bass synth tears through amid pinging 808 cowbells and frequent flashes of sound like granite scraping across the EP’s sonic tiles. Sudden euphoria takes hold as the murk clears to the track’s ebullient conclusion. ‘Buildbase’ indeed has the driving pulse of construction to it but the base is nearly destroyed as explosive sideswipes render previous sequences to sludge and rubble and the percussive clicks no longer propel forward but tiptoe around the bass drum thuds and menace.

On the B-Side we are into the forest. Barely navigable and unfamiliar - in classic U style we are turned on our heads and forced to feel for the touchpoints on this side having been perhaps lulled into a false sense of security before. A strong Eastern vibe announces the side as dune-dwelling drums hammer behind a sandstorm of swishing sonic texture. This heralds a sombre and regal section that develops into a thanatoptic drone with a post-industrial lament of echoing metallic percussion rising from the track’s smouldering ashes.

High tide’s downbeat drums float behind a submerged classical motif and drowned piano melodies as we drift into the focal point of this strange collection. The title track opens like a Celtic ‘O Superman’ as heavily processed vocals weave a traditional tale over beautiful, doomy, looming synths and ambiguous high register melodies. It is raw emotion delicately balanced on the edge of the comical. Unsettling and familiar and uncomfortable. It is the perfect conclusion to an intriguing 30 minutes of music that seems to deliberately cater to nobody specific yet prods at myriad facets of the human spirit.

Idealist returns with his second long player this October, entitled 'Mind Field' and featuring eight dub-leaning cuts from the Swiss producer. Based out of Zurich, Switzerland, producer and DJ Idealist has become a respected figure in raw, dubby house and techno over the past five years via his releases on Echocord and his Idealistmusic and Details Series labels, picking up support along the way from the likes of Mike Huckaby, Dana Ruh, Tini and Mandar to name but a few. Here though we see him returning to Copenhagen's Echocord with his second long player following 2016's 'Firewood Street' on his own label. Leading on the package is 'Explorer', setting the tone with crunchy percussion, billowing stab sequences and airy dub swells before 'Dimension' employs pulsing subs, soft organ like chords and gritty analogue drums as its foundation whilst fluttering stabs and sweeping atmospherics wander within.'Stage One' is up next, consisting of a weight low end drive, thunderous kick and snappy clap running in unison with swirling dub echoes and tension building strings, a shining example of an effective dub-techno tool. 'Golden Places' offers something different, this time round embracing a walking bass groove, soft 303 style resonant flutters and cinematic strings. 'M.I.T.H' opens up the flips side of the release, upping the energy levels with a dynamic, robust rhythm, gritty stabs and murky modulating effects throughout before 'Singularity' edges things back into deeper territory with fluttering synth licks, vacillating pads and low-slung drums. 'Smoke and Mirrors' embraces a loop driven approach next with a focus on short, sharp synth cuts, bumpy drums and skippy hats before 'Final Cut', as the name would suggest, wraps up the album with oscillating percussion, choppy bass hits and raw drums all unfolding with the subtle nuances prevalent throughout yet another smooth and understated addition to Idealist's catalogue.

Gear Check:

Elektron Digitakt
Mode Machines ADX1
Roland Juno 106
Dreadbox Abyss
Korg Minilogue
Korg Monologue
Korg Volca Keys
Roland RE-201
Boss RE20
Strymon Blue Sky
EHX Small Stone
FMR RNLA
Soundcraft LX7II
Cymatic Audio Utrack24

LUSS is cleared for descent.

Great sounding new imprint based in Moscow and run by Vadim Lankov. The first release comes up with a quite dubby and minimalistic four-tracker, that is probably can be defined the crossing between minimal and house tech. This release is made by well-known Vadim Lankov.

Sound design masters Benjamin Brunn and Dave Wheels of the Workshop fame team up with the iconic Berlin based Sushitech for a beautiful double 12" LP release.

"2000" is an electronic masterpiece, lush melodies, dubby rhythms and some mesmerising synth lines that we can all recognise from previous milestone Benjamin Brunn releases such as Song From The Beehive that was already released a decade ago together with Move D.

This 2x12" with 8 full length tracks packed in a gatefold sleeve makes a beautiful pack that is a simply must have for any serious vinyl collector - BIG!

fourth blueten release for the barcelona-berlin connection from
gimenö and stefan helmke with three dub/break/techno sounds ! vinyl only !

Dutch producer and live act Conforce is back with 'Autonomous', a fifth artist album and the latest in his long relationship with Delsin Records. Conforce is Boris Bunnik, a producer who explores the deepest realms of dub, house, techno and electro under many different names. His Conforce alias is where his most club orientated material comes from and this new nine track album finds the Transcendent label boss producing dark syntheses inspired by his hometown and harbour city, Rotterdam, and its automated industries. A masterfully conceptual album that really paints a vivid picture of a harbour as heard from deep down in the depths.

Amadeo Savio is next up on Vigenere, the label that has thus far presented a whole host of unknown names in the field of minimal techno all bound together by a shared classiness in their production style. Savio's approach is deep and dubby on opening cut "Isolat", one primed for the after hours. "Trance Later" has a slightly more forthright approach, but there's still plenty of mellow delights to be found in the synth department to keep you chilling. "Encor" heads into more typically minimal pastures, while "Kassion" explores broken beat patterns and fragmented samples with scintillating results.

10" vinyl only