Techno Novedades

When Tresor founder Dimitri Hegemann stumbled into a former bank vault in East Berlin on March 13th 1991, he had little idea that the space he had unlocked would fast become one of Berlin's most influential and enduring techno clubs. "We didn't know what would happen 10 months later," he says. "We signed a lease for a year. Which eventually got renewed for another three months, and another three months.."

As Tresor celebrates its 25th anniversary with this work of artists from the US, Germany, China, France, Austria, Italy and the UK, it is worth dwelling on how the cultural conditions that birthed Detroit techno - economic neglect and broken industry - were mirrored by the disused bunkers and impromptu parties of post-unification East Berlin, where techno found new, vigorous expression.

Today, though the boom and bust of globalised capitalism has filled the void that followed the Berlin Wall, and techno has become a worldwide industry, we face a new political chapter, one defined by populism, nationalism and mistrust. Contemporary creatives should take inspiration from Tresor's story, an extraordinary experiment born from improvisation, resourcefulness and social neglect that uplifted the spirits of inner city communities for a quarter-century.

This record marks the spirit of those 25 years of creativity, a paean to the psychedelic music of Dimitri's youth. From the signature magnetic soundscapes of Vainqueur to the dark textures of upcoming Beijing producer Shao; from Jon Hassell's slow epicurean volutes, to the ritual auras of Marcelus and Claudia Anderson's contributions; from the dub-infused pioneering programming of Juan Atkins and Moritz von Oswald, to Mønic's enthralling cadences, it represents some of the old and new names that continually epitomise Tresor's perennial spirit of ingenuity. "We were space pioneers," says Dimitri.

The East Berlin of 1991 may have disappeared to gentrification, with Tresor's lonely vanguard joined by an army of venues catering to an international array of clubbers benefiting from low cost travel, many of whom settle in the city for good. Berlin is Europe's economic engine, headquarters to global industry and sole traders alike, where Polish, Kurdish and English are as likely to be spoken as German. That range of influences is felt in all areas of life, not least in the city's music.

"Without Tresor, Berlin would not be what it is today," concludes Dimitri. "Even though it sounds a bit pretentious, it is true. Tresor was the prototype for an extraordinary club. It was only possible as a combination of the right time, the right place, the right content and determined people."
Excerpt of liner notes, by Rob Sharp - November 2016.

A side bring a good techno kick. Minimal and textures. B side goes more ambient bass style... Hynpotik side.

With ETUILTD005 'Translucent Tracks' we are presenting 4 new tracks from the deeper side of techno. We also welcome 3 new and established artists to our vinyl series. Echo Inspectors' Parable' opens the ep. With a great selection of warm
sound elements and an analogue drum set, the Melbourne based duo made a fusion of Dub and Detroit Techno. It´s the sound we love from their releases on their own Primary (Colours) imprint as well as from our Etui Winter Camp Compilation.
Dub Techno genius Quantec, who already released on labels such as Echochord or Styrax, delivered a more down stripped track. His 'Analogue Effusion' is based on delayed synth chords which get deeply modulated over a handful dry drums. When the bass kicks in, this turns into a dancefloor mover.
The b side starts with 'The Clouds Above Us' by Etui Records label head Insect O. Filtered chords and short pads create a dreamy sound scape and built up the tension step by step. Shaped drums are giving the track that drive to work well on the dancefloor.Frank Hellmond´s 'True Lines' offers a deep house groove made of analogue drums and sweet synth loops. Rare vocal snippets are bringing in a kind Dub Techno feeling. The nice atmosphere of the track rounds it up.

Spring Theory alumni Sage Caswell returns to the San Francisco-based label to deliver his debut album Hoop Earring. It's an enigmatic record that comes from the producer's own movement through personal transformation. It follows 2015's 'Sleep Quarters', Caswell's introspective label debut, and offers 10 tracks spread out across two 12"s. Hoop Earring is heavily informed by surrealist visions and archetypal images from Caswell's past that have crystallized within the context of this longplay album. Hoop Earring successfully paints images with broad brushstrokes and allegorical song titles that allows one to fill in fine details of a landscape built within the framework ten songs. Ray Of Light 95'' alludes to a moment in time that smartly places you alongside an adolescent Caswell while songs like Here We Guard Upon The Soul' land locks squarely in the middle with a poignant, nail-on-the-head statement. "Zora Scales (Step 1)" provides a focal reference to the fantasy world that this album might be the soundtrack to.

Calibre's new album - Grow for Craig Richards' label The Nothing Special.
12 tracks on a limited edition CD.
All music written and produced by Calibre. All artwork by Craig Richards.
Mastered by Lewis Hopkin at Star Delta Mastering.

Inaugurating a new chapter for Horo, Liam Blackburn continues his journey as Ancestral Voices. Following on from the 'Night Of Visions' LP for Samurai Horo and his recent 'Old Earth Voodoo' EP for Samurai Music, 'Yantra' is 4 soaring creations that further develop his caustic ambience. Euphoric touches that hint at his work as Indigo are added into the mix, but the hazy sonic atmosphere initiated with 'Night Of Visions' dominates throughout, refined here into a meditative form that whispers renewal and rediscovery.

Roberto Bosco is a young Italian producer with a short but highly impressive discography, citing labels such as Samuel L. Session's Klap Klap, Orlando Voorn's Night Vision and Len Faki's Figure. Lately, he has released on Be As One, an Israeli imprint that's attracted the tastes of Loco Dice, Gui Boratto, Kate Simko, Agoria and GummiHz. Claudio Mate has an unique kind of sound: there is something like classic atmospheres expressed into new spine-tingle grooves, a deep-cosmic-solid journey or more simply just the trip of his life story

10" Limited to 300 copies, Vinyl only release.
From the shores of Tel Aviv, Stephan Bazbaz does the honours
of the 3rd release on Alexkid's Dub Techno imprint, providing two excellent and timeless tracks with the sharp beats and generous basses that define Stephan's productions. on the ASide,
789 is a modern take on the genre with its dry approach, whereas 810 on the B-Side will satisfy all Echo Lovers with its irresistible elegance. A release not to be missed.

MMAUDIO is happy to add to her family the artist Unthone with his first release on the label. He scored his first release with a sound dub with very deep chord. The release named "Visionary Road EP" consists of 2 original and 2 remixed tracks by Kaelan & Echoplex. Recognition is a track with a deep chord, the remix of Kaelan is a very suitable for traveling, Accepting is a track that is based on the dub and remix of the Echoplex is elegant to the ear.

Great debut by Colombian producer Aleja Sanchez on Nachtstrom including big remixes by Deepbass (Soma, Edit Select, Planet Rhythm, Sleaze), Takaaki Itoh (Faut Section, Modularz, Tsunami) and Ricardo Garduno (Illegal Alien, Sleaze). Limited coloured vinyl.

Killer punkrockdub album from 1983 finally reissued via the consistent Light In The Attic label. HUGE tip!!
Political post-punk trio This Heat dissolved at a turbulent time in the UK. Margaret The Iron Lady' Thatcher was in power, and her budget-cutting, ultra-conservative influence was felt strongly in-among many other places-the cultural melting pot of Brixton, South London, where This Heat had their origins. Dusting himself off after the collapse of the band in 1982, guitarist/vocalist Charles Bullen united with Julius Samuel to form Lifetones and embraced the sounds of the local West Indian community to fuse reggae flavor to the kind of propulsive, rhythmic, and experimental music made by This Heat.

Deceit, This Heat's 1981 album, had seen them work with David Cunningham, who had already helped mesh dub reggae with new wave pop on The Flying Lizards' 1979 single, Money (That's What I Want Want).' Even so, For A Reason was a great leap, one that created a strange, unsettling mood as Bullen's multi-tracked, chant-like vocals met dub beats and Krautrock-informed repetition. Where Deceit dealt with the nuclear threat, For A Reason was less reactionary, even quoting Bob Marley in its lyrics: you love the life you live, you live the life you love.'

Just six tracks and half an hour long, the album was recorded at Cold Storage studio and released on Bullen's own Tone Of Life Records. It has become a sought-after collector's item that changes hands for hundreds of dollars a time. As a solo artist, Bullen was not prolific-it was 15 years until, in 1998, he released Internal Clock under the name Circadian Rhythms-but like the rest of his band, he has enjoyed a long, enriching career in unending pursuit of new sounds.

Even though This Heat had no commercial success to follow up on, For A Reason was an album created with no intention of hitting the charts. Reissued on Light In The Attic, Lifetones' single album retains a timeless quality and perhaps-on tracks such as Good Side'-a futuristic sound that nobody else ever caught up to.

The first in a series of hugely exciting Shangaan remix instalments come this time from legendary Basic Channel affiliate and one of the brains behind the 2010 Shangaan compilation, Mark Ernestus. Taken to the task of reworking the frenetic 180bpm speed of the original, Ernestus condenses its hyper-activity down to a hypnotizing and particularly engaging house groove punctuated with moody synths. A second version strips the components further bare for a sparse but verdant landscape of dubbed out bass. Extremely recommended.

*** vinyl only *** on 180Gramm Vinyl !!

A masterpiece of electronic music. Two long slow deep hypnotic killers tracks based on complex rhythm structures is the beginning of a wonderful mind journey. We are extremely proud to present WNDFRM aka Tim Westcott, a new face on Prologue. Tim is a prefect fit for Prologue and he has the talent to deliver mental sounds in perfections. Everything is in a hypnotic flow but there is always a constant anchor point for your mind in order to get not lost! Or you even get lost!

We've spent years now going through the analog tapes from the cv313 project archives and we're excited to have the long sold out, "Dimensional Space" (LP Edition) from cv313 finally available on CD. We had to pay tribute to the brilliant artwork from Lindsay Todd @ Firecracker/House Of Traps and the superbly mastered recordings from Bazza @ Alchemy Mastering, London. This edition features selected content from the LP set and unreleased versions of, "Isis", a killer new cut from the "Beyond The Clouds" sessions titled, "Beyond Dreams", this edition also features 2 unreleased cuts which were scheduled to come out on the LP edition of the album but were omitted due to budgetary concerns, never to be heard - until now. This might be the soundtrack to the other side of the galaxy, a place where space meets bass. Epic in every sense of the word!

12" clear marbled 180g vinyl, recycled grey sleeve

"Eigenleben" was written and produced by Holger Flinsch & Martin Müller from March '05 till June '06 in Hochtaunus, Ohmgebirge and Humboldthain. After 10 years it is the first time available as limited clear marbled 180g vinyl.

Creating something selfexistent might be the most difficult part of doing arts - something that isn't just a rigid thing but an entity of itself. Our goal is to bear something upon our technical possibilities without involving any other entity's energy.

Our selfexistent entity should be made up of dead matter and brought to life by technical components which interact with their surrounding and make decisions based on observations which are being analyzed and torn through programs to calculate potential procedures. It should not be limited to its current level of experience. To remain state-of-the-art, apprehension and intelligence are indispensable capabilities our entity should be able to make use of.

The needed technology is basically built on coincidental scientific observations which have been analyzed, processed and at best industrialized. This only works on repetitive or - even better - repeatable processes, because otherwise an industrialization would make no sense. As a result nature is being squeezed into our own pattern of predictability.

But there is a fundamental problem: intelligence cannot be satisfied with predictability. Entities bound to programs are always waiting for known and already categorized input. They cannot handle yet unknown impressions or re-categorize them. Intelligence is beyond predictability - it deals with the unknown and tries to integrate it into the limited and predictable world, of which itself is - and will always be - part.

We have to ask ourself: will it ever be possible And is it worth it all

PURPLE & ORANGE

Frankfurts label eMBI Music calls on the inimitable talents of Italian Marco Cassanelli, who really delivers on the 4-tracker that is the Adub EP.
A smart and atmospheric minimal jaunt, the original takes the breadth away thanks to its unrelenting persuasion and its penchant for the unpredictable.
''Cushion'' is another spiky, metallic number whereby the ambiance plays another key role, while Fluxion's remix of Adub is full of weighty low-end signals and intricate synth work.

Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Vibrant Forms II is widely considered to be one of the greatest achievements in the genre. As it turned out, Vibrant Forms II became one of the last records to be released on Mark Ernestus and Moritz von Oswald's classic label - a suitable swan song if there ever was one. And that's it, right

Well not quite.

If one would search for Fluxion - Vibrant Forms III, Discogs would come up empty and Google would treat it as a misspelling. Until now.
Konstantinos Soublis, aka Fluxion, and Subwax Bcn have decided to pick up the banner and release Vibrant Forms III as a CD as well as four individual 12" records under 2016. It contains everything you could hope for and more: The massive, booming basses, the clicks and hisses, the atmospheric thunderstorms, the opium smoke-scented streaks of reverb and dub echoes. The warmth. Yes, above all else the warmth: Sometimes moist and dripping as in Safe Harbour, sometimes blisteringly dry as in Variant. It's no easy task, giving cold, dead machines warm breaths. And no-one quite does it like Fluxion.

The Reissue of Vibrant Forms II was an act of cultural preservation. It reminded us about the legacy of the Basic Channel label family, in which Chain Reaction played an important part. Without this legacy, the contemporary body of electronic music would look different and make very different sounds. With the Release of Vibrant Forms III, Subwax Bcn takes it one step further. Fluxion's Vibrant Forms III album remind us of the timelessness of truly great music, never mind the genre.

Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Vibrant Forms II is widely considered to be one of the greatest achievements in the genre. As it turned out, Vibrant Forms II became one of the last records to be released on Mark Ernestus and Moritz von Oswald's classic label - a suitable swan song if there ever was one. And that's it, right

Well not quite.

If one would search for Fluxion - Vibrant Forms III, Discogs would come up empty and Google would treat it as a misspelling. Until now.
Konstantinos Soublis, aka Fluxion, and Subwax Bcn have decided to pick up the banner and release Vibrant Forms III as a CD as well as four individual 12" records under 2016. It contains everything you could hope for and more: The massive, booming basses, the clicks and hisses, the atmospheric thunderstorms, the opium smoke-scented streaks of reverb and dub echoes. The warmth. Yes, above all else the warmth: Sometimes moist and dripping as in Safe Harbour, sometimes blisteringly dry as in Variant. It's no easy task, giving cold, dead machines warm breaths. And no-one quite does it like Fluxion.

The Reissue of Vibrant Forms II was an act of cultural preservation. It reminded us about the legacy of the Basic Channel label family, in which Chain Reaction played an important part. Without this legacy, the contemporary body of electronic music would look different and make very different sounds. With the Release of Vibrant Forms III, Subwax Bcn takes it one step further. Fluxion's Vibrant Forms III album remind us of the timelessness of truly great music, never mind the genre.

CoastDream from Brazil is the third artist on the Deeptrax label. Again a full 4 track EP, with these raw massive beats over a 90's feel, ecstatic house landscape which has that totally unique, beautiful naive and devastating dancefloor destruction factor.

Although still relatively young, Matt Star started his career in the late nineties followed by his first vinyl release in 2006. His music has since appeared on the likes of Hypercolour, Cocoon, Repeat Music, Rawax and many more. Following an appearance on the label as part of our latest mix CD ('Leftback Vol.1) Matt now joins the Leftback roster for his first' full EP on the label accompanied by a remix by label heads Michael McLardy & Dudley Strangeways.

New Ex Aequo release, this time from italian producer Hydergine.
He delivers 3 Techno soundscapes with Detroit influences.

Ultraphat four tracks Ep from Alberto Pascual in his own imprint.

Tropico Timelexia is a rare tropical disease. In the midst of oppressive heat and humidty, the subject loses notion of time and experiences delirium. Fearless explorer Benoit B takes us through his elevating journey in the depth of an atemporal and sweltering world with this beautiful new EP for Peur Bleue Records. From the hazy and voluptuous atmosphere of 'Zanzibar Sunrise' and 'Weekend Girl' to the rough and throbbing vibrations of 'Crystal Fuselage' and 'A Night In Gobi Desert', Tropico Timelexia EP is a flushed expedition where humans seem to have lost control over nature.

A project that came to life fuelled by collectors' obsession and a lifelong willingness to dive head- first into unknown musical wormholes, Miles Whittaker and Sean Canty have never been defined by a singular musical trajectory. Their opening salvo of releases dabbled with the aesthetic of the occult and provided an alternate, parallax view of the Italian Library records with which they were both obsessed at the time, but as their long running mixtape series and brilliantly curated DDS label attest, their interests extend far outside the crevices of early electronic music and into dance music, dancehall, roots, jungle, techno, industrial, noise and beyond. While 2013's Testpressing series provided an outlet for mostly club-based productions shot from the hip, Wonderland has been constructed with a narrative in mind. From the clipped Hardstyle of the opening Curzon, through the jaunty Dancehall mutations of Animal Style and FullEdge, Exotica/House refractions on Hardnoise, the frankly ridiculous, bassbin destroying Jungle ructions on Sourcer, or the extended tease of Overstaying, it's probably the most enjoyable and loose-limbed hour of music in their catalogue, or that you'll likely hear in these weird, angst-ridden times.

finally repressed

Hot on the heels of the release of Neville Watson's Songs to Elevate Pure Hearts album, Crème Organization releases a three track EP of remixes from the longplayer. Drawing on diverse names, each of the remixers transforms their given track into something quite different from the original. The first is by Watson's frequent collaborator, Bulgarian producer and live specialist KiNK. He tackles 'Songs To Elevate Pure Hearts' and laces it up with some lazy old rave breakbeats and plenty of lucid synth and melody pattern before fast rising Dixon Avenue Basement Jams associate Marquis Hawkes takes on 'Against The Tide'. He imbues it with what is fast become a trademark sonic weirdness, with wrought iron synth bars interlocking with molten synth lines and a slow, purposeful and predatory mood. Finally, American Moon B turns in a trippy outsider house version of 'Son Of House' with off kilter claps, see-sawing synths and organic drums.

LHR001 is an obsession in hard drilling percussion, banging synth-elements & drums, that roll in a more complex groove-pattern.
This excursion is deadly effective. Heavy pounding prime time techno.

Third single EP "Spring aroma" by prolific deep/dub techno producer Martin Schulte immersed in deep bass, slow rhythms, spring atmospheres, echo chords, harmonic structures associated us with spirit of Spring. Recommended to all fans of aquatic and echo chords manipulations.

Sascha Borchardt aka Monoloc is a dystopic atmospheres fanatic that has dedicated his life to the dance floor from an early age. The Frankfurt-born artist's raw yet sleek take on techno and ambient has evolved to characterise his own musical style in his productions. Monoloc's sound is a mixture between techno, dub and ambient, nurturing a tone that is driving, groovy and low-slung, but with greater emotional range. He acquires most of his inspiration from old movies and likes to work mostly with field recordings in his productions.
'The Untold Way' on Dystopian is his second album, following his first in 2012, and shows a notably matured development in the artist's style. Sascha explores the distant realms between the pillars of genres, presenting a 12 track album of techno but not as we know it - left field, keeping a foot in ambient, with elements outside of the dancefloor. He brings together the concept of an album written in his own language of atmospheric patterns, melodies and fragments of words and voices. Instead of functional four to the floor tracks he explores the meaning and depths of dark, melancholic music.
The album unfolds into a 12 chapter story of his musical style with many surprises and twists along the way. 'The Untold Way' starts with the ambient 'Revive', slow and gentle yet apprehensive. As the listener moves through the album they catch glimpses of almost formed club tracks, in 'The Untold Way', 'Michigan Lights', 'Gravity Growl' and 'Alighting'. These have remnants of a dancefloor impression, a prominent beat is there, but not much more.
At other points you see Monoloc's more experimental side. 'No GHSTS' featuring Tijana T evokes a resounding beat filling an empty space, with the occasional piano melody and eerie vocal. 'Cloning Society' is beatless, driven merely by a consistent bass and echoing voice. The album is interspersed with short ambient interludes, each just a few minutes long: 'Lowa' and 'Gently Falls', serene and reflective, give the listener time to breathe. And bringing you back to familiarity are more the dancefloor focussed tracks of the LP, 'Momentum' and 'Muted'. The twelfth and last track is 'Ground Disorder', which brings the album to a halt with an air of nostalgia.
The result is a story, a history in twelve chapters that the listener is guided through like the landscapes of a gothic horror film, with a new twist on the percussion or surprising effect hidden behind every bass sound, waiting to excite and delight.

Julian Perez on fire, limited copies.

Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Vibrant Forms II is widely considered to be one of the greatest achievements in the genre. As it turned out, Vibrant Forms II became one of the last records to be released on Mark Ernestus and Moritz von Oswald's classic label - a suitable swan song if there ever was one. And that's it, right Well not quite. If one would search for Fluxion - Vibrant Forms III, Discogs would come up empty and Google would treat it as a misspelling. Until now. Konstantinos Soublis, aka Fluxion, and Subwax Bcn have decided to pick up the banner and release Vibrant Forms III as a CD as well as four individual 12 records under 2016. It contains everything you could hope for and more: The massive, booming basses, the clicks and hisses, the atmospheric thunderstorms, the opium smoke-scented streaks of reverb and dub echoes. The warmth. Yes, above all else the warmth: Sometimes moist and dripping as in Safe Harbour, sometimes blisteringly dry as in Variant. It's no easy task, giving cold, dead machines warm breaths. And no-one quite does it like Fluxion. The Reissue of Vibrant Forms II was an act of cultural preservation. It reminded us about the legacy of the Basic Channel label family, in which Chain Reaction played an important part. Without this legacy, the contemporary body of electronic music would look different and make very different sounds. With the Release of Vibrant Forms III, Subwax Bcn takes it one step further. Fluxion's Vibrant Forms III album

Debut 2x12" release from And.rea and third super strike from Melliflow, an electronic music label based in Berlin, founded and curated by Vera & Alexandra.

Units and Measurements is the collaborative project of Christopher Hreno, Mathew Jonson and Colin de la Plante. The project sees these long times friends and veteran producers exploring the limits of hardware based improvisation and deep synthesis and effects programing . Documenting a single epic 24 hour session at Jonson's mothership studio in Berlin, this first release sees the trio exploring some of the headiest ambient and tunneling hypnotic techno to be found in any of their admittedly vast individual back catalogs. This release is without question a portrait of 3 masters of their craft at work, and quite unlike anything else you are likely to hear this year.


Units and Measurements will be available in a double vinyl and digital formats on November 4th via BLKRTZ, with worldwide distribution via Kompakt.

Sometimes playful, sometimes serious and conceptual Sounds that skirmish in a huge construct of 4 Tracks. A sizzling noise pops up a straight kick 'n' hi-hat rhythmic and initiates It's All Good by Alek S, the new EP on made of CONCETE'.
First track, Grand Central , remains true to the sound of industrial techno and the main-lead synthesizer, sounding like fast objects passing the structure of differing beat-fabric. By the second Track It's All Good , remixed by Myles Sergé, described as reclusive perfectionist, whose roots are based on Detroit/Chicago electronic music, the sound evolves into intense and delightful percussional tech sound. Followed by the original track It's All Good and the final one Boyz Weekend the EP proves it's continuous quality of straight surfaces and deep dubby techno sound

Third reference of the label White Rose (part of the Dead Rose Records project) that brings together the hypnotic detroit sound of mid 90s and also the dub flavors of the mid 90s Berlin sound. The E.P. is signed by SPEAR with remixes from Max_M and Miki Craven.

Label honcho Eduardo De La Calle teams up with Orbe for one of the most exciting ASR releases thus far. Repetitive, percussive and of course analog. Two guys that know how to work machines on one of the most analog focussed labels around.

Here comes another release by Echologist aka Brendon Moeller. Brendon did several releases over the year and here comes the next Bomb!!
These tracks were recorded in autumn of 2016 in Brendon's
home studio that is conveniently located in the basement of his home in upstate New York.
The tracks were made using a combination of Hardware and Software. The protocol, well, sync all machines via midi and CV and then jam. Once a jam seems to take on a form he multitrack record all elements in Ableton and then create a nal arrangement and mix down.