Techno News

Raving sound Live set from Anna Bolena, dancefloor dirty sound on a beautyful marbeled vinyl !

Haraam (Arabic for forbidden, the opposite of halal) is Copenhagen-based noise artist Martin Schacke solo project. Going on since 2014, he has released a handful of tapes on underground labels as Fallow Field and Cønjuntø Vacíø as well as on his own Moral Defeat.

Largely inspired by the refugee crisis and changes in the political environment in northern Europe, these six tracks are a perfect blend of bass heavy rhythmic noise, lo-fi industrial techno with a great focus on atmosphere, droning noise and concrete soundscapes from the Middle-East.

Bestial Burden, the previous album by Margaret Chardiet's Pharmakon project, focused on the disconnect between mind and body, looking at the human as an isolated consciousness stuck inside of a rotting vessel. For Contact, she wanted to look at the other side of the spectrum - the moments when our mind can come outside of and transcend our bodies. In trance states, music and the body are used to transcend the physical form and make contact with some outside force. Chardiet decided to structure the compo­sitions of each side of Contact after the stages of trance: preparation, onset, climax, and resolution.

Deadly double-header from the iDEAL ranks, pitting Dungeon Acid in a split face-off with the maelstrom hisself, Russell Haswell. Expect deep-raved techno and n0!se of the most potent order, delivered in 'floor-sized portions!After a run around the houses of Fit Sound, Börft, Stockholm LTD, Klasse Wreckes and Ufo Station
Recordings over the last six years, Jean-Louis Huhta nails his strongest Dungeon Acid sound in both parts here: going deep and long with the stealthy modulations and grittily fluid, almost proggy drive of Acid Moments In Time And Space, and then like some long lost Mike Dunn or KMS banger with the shivering rimshots and thunderous acid undertow of Youth Against Fascism ('cos everyone knows Nazi's can't dance).
Switch to 45rpm on the flip and you'll find R. 'aswell on filthy good form in both parts: stewing some proper acid n0!se reflux in the gut-kicking iDEAL tape try (take #2), before the gloves come off for the unmetered squabble of iDEAL n0!se for tape, where his fascination for high freq Japanese power noise really comes to the fore with excoriating effect.

Bestial Burden, the previous album by Margaret Chardiet's Pharmakon project, focused on the disconnect between mind and body, looking at the human as an isolated consciousness stuck inside of a rotting vessel. For Contact, she wanted to look at the other side of the spectrum - the moments when our mind can come outside of and transcend our bodies. In trance states, music and the body are used to transcend the physical form and make contact with some outside force. Chardiet decided to structure the compo­sitions of each side of Contact after the stages of trance: preparation, onset, climax, and resolution.

Label debut from mysterious Poland-based, Always Human Tapes, recording artist. Dark, atmospheric techno and heavy, gothic electro beats. Stamped, white label release in custom screen printed jacket.

London's avant prism-pusher Dale Cornish debuts for Rabit's Halcyon Veil imprint with an acute distillation of pointillist rhythms, stark noise and contemporary politics in the barbed bouquet of Cut Sleeve, following a multi-pronged attack on 2016 which saw him issue singles with Where To Now and The Wormhole, plus a remix of Billie Ray Martin and a guest vocal on Powell's Sport album.

Stripped to the barest truth of biting drums and his own vocals rent within acres of negative space, when compared with his run of solo aces for Entr'acte and The Wormhole, the six tracks of Cut Sleeve conversely amount to some of the most corporeal works in Cornish's solo catalogue whilst serving to neatly intersect the Halcyon Veil aesthetic from both mutual and personally developed perspectives.

Dale wears his politics explicitly and suggestively on Cut Sleeve. Starting with the nagging reminder that 'in 2016 it is illegal to be gay in approximately 75 nations and regions around the world' delivered in acrid noise and a slurred tone that makes sure the message rings out slowly and uncomfortably, the session presents in reductionist take on UK and US club music in brittle, certain, and uniquely, drily f*nked-up terms, taking on skeletal steppers templates in Cut and chasmic darkness on LW or Vauxhall, before feeding his own, bestial vocals back into the mix with a blend of glossolalic deviance, cryptic poetry and stoic funk in Emperor Ai.

Mumdance & Logos cut deep into the uncanny valley between grime, noise and ambient musics with the shockingly diverse Weightless Volume. 2, volleying five tracks from label fammo FiS, Shapednoise, Inkke, Sharp Veins and Yamaneko, plus the duo's own, frankly massive Cafe Del Mar zinger.
With the label still hot from the Mumdance & Logos Presents Different Circles mix CD, this EP touches base with five new artists whose individual sounds have been crucial to the make-up of Different Circles' club sets and on Mumdance and Logos' respective Rinse FM shows ever since their label's inception.
You couldn't ask for a stronger indictment of where Mumdance and Logos are right now than Cafe Del Mar; an outstanding piece of work stacking lush modular synth pads to the rafters and socked with cavernous, inverted kicks, forming the closest you'll ever get to a weightless sunset anthem from these two original nuttahs.
Trust their bandmate in The Sprawl, Shapednoise, to twyst hard away from that sound with the invasive contortion of Deep Core Consciousness, which feels like the first efforts of communication from a neural network of heavy machinery, and is proceeded by the impeccably smooth contours and thizzing glassy licks of Yamaneko's Shadow Temple.
On the B-side, Kiwi producer FiS follows his exclusive contribution to Mumdance's Fabriclive 80 mix with a deviant diffusion of the elements in Angels Of The Water Table, while Glasgow's Inkke shoots from the hip with the blinding hi-wire hooks of Pioneer on a boisterous, beatless grime flex, and Alabama, USA's Sharp Veins holds a bittersweet suspense to the edge with his dizzying mini string symphony, Already Bones.

On his thrilling, wide-eyed debut for Rabit's Halcyon Veil, London-based IVVVO gets deep under the hood of rave music's emotive mechanics and reasserts his crucial role in the borderland between lonely bedrooms and heaving clubs.
Good, Bad, Baby, Horny is a distressing but necessary distillation of contemporary worries in the bedroom and the dance. Largely shy of beats but heavy on symbolic, contorted references to '90s and '00s pop, rave, and video games, as much as the current ecology of effluent news feeds and rampant social anxiety, it plays out like a frazzled AI attempting to parse the confusion of memory thru state of infinitely up-to-the-second hyperreality.
Its four tracks fuse visceral and highly visual sonic cues in synaesthetic rushes that mirror our sense of physicality within the framework of daily digital experience, somehow isolating the motion sick feeling of hurtling toward a shared endgame with life flashing before our eyes, whilst simultaneously remaining static at the centre of a rave and resisting the perceived tempo of reality.
Scaling from the intensely queasy sensuality of the title track's gasps and deathly synth drop, thru the the sky-kissing guitar licks off Self Rape, to the frozen Eski shoegaze burn of I Fucked It Up and an elusive glimpse of ecstasy in Tongue Kiss Crying, the mood is perpetually high-strung yet melancholic, violent yet compassionate, perhaps best considered in terms of MDMA as a bitter salt or prism for reflective, therapeutic purposes.
It's definitely Ivo Pacheco's strongest work yet, and a hugely timely dispatch from one of rave's visionary contemporary se'ers.

Merchants is an italian electronic duo composed of Alberto Ricca / Bienoise (Red Bull Music Academy Tokyo alumnus) and Davide Amici. Their music is sample-based, combining dark beats with found sounds in a musical exploration of imaginary countries. Global debris and techno pulses meet in search of possible musics.

A Gathering Together is Ron Morelli's second full-length for Hospital Productions: a 'techno' cacophony brought to its granular detail and reduced to its most elemental tonal depths. A cohesive fusion of surreal and feverish deja vu loops, brittle noise, fucked rhythms, scrap metal percussions, pro-one metal synths, and an injection of near-buried, Drano vocal samples, it's a fearsome celebration of brokenness, of amplified surroundings.Stereo-shifting drones and driving rhythms that tell the stories of those now gone, more a soundtrack for a wake than 4/4 crafted for the dancefloor. There's a naked anxiety at work that doesn't turn away from loss, but runs with an excited melancholy that looks to a future that won't exist. The boldness of the gestures are not to be confused with exuberance.With this effort Morelli has shown remarkable restraint and patience most notably highlighted on title track 'A Gathering Together.' An intense cut born from rapid-paced dead-end urban environments that force people together. It's a calling to do more, include more, and celebrate the many forms within those inconspicuous places.Upon numerous listens, it's clear the sound design is a reflection of heavy compositional themes that suggest a greater whole. This is hard, dirty techno--humid, reduced, bare bones, yet dense and dissolved to its electronic soil. Heavy without being oppressive, it is the culmination of many elements pulled from all spheres of modern electronics, eaten, digested, and spit back out. Produced at the end of 2014, with final m,ixdown and additional production in spring 2015 by Krikor Kouchian and Ron Morelli in Paris, Hospital Productions is proud to offer A Gathering Together.

Immense noise/techno slab from iDEAL featuring Varg, Sewer Election, Alexandra Atnif and Copley Medal (Dais records' Ryan Martin) with a spirit-rinsing, full spectrum noise and techno showcase to leave you sore and breathless.
Sweden's indomitable Dan Johansson a.k.a. Sewer Election - whose Vidöppna Sår was among the earliest LPs released by PAN - goes first with a pyroclastic torrent of molten distortion which calves away to, strangely enough, reveal acoustic guitar strums and soggy location recordings before handing over to keenly tipped American artist Alexandra Atnif, who really gets under the skin with a pair of thrumming rhythmic noise pieces demonstrating devilish discipline and a proper feel for biting-point tones. Keep an eye out for her new stuff.
Trust Ryan Martin's Copley Medal alias to reset the scene with Ger Lopig on the other side.
Following from last year's Trance Below The Streets collaboration with iDEAL bossman, Joachim
Nordwall, his latest sacrifice is an absorbing piece of drone torpor that could initially be a
Deathprod piece or a Black Metal intro, but which eventually precipitates a deep, systolic pulse that marks up as the best we've heard from him.
Then the prolific Varg takes us to the edge with the purified, headlong oscillations and noise payload of Run No More Pts. I & II, primed to slice thru the floor or dank bedrooms with unrepentant, laser-guided precision.
Supersolid.

Wolf Eyes' Nate Young's Regression series has provided some of the most compelling dread-electronics spewed out by the North American underground in years, with instalments released by Demdike Stare's DDS label and Aaron Dilloway's Hanson, as well as NNA Tapes and others.
It all began back in 2009 with this first volume issued by Joachim Nordwall's Ideal label, an incredible set that's now being released on vinyl for the first time ever, just in time for Wolf Eyes newly minted (Warp sponsored) Lower Floor imprint to make its debut this coming spring.
Young is one of those artists whose output is instantly recognisable, his take on primitive electronics is both innovative and unnerving, and in recent years has really dominated the stylistic direction pursued by Wolf Eyes. It's a kind of creaky, bare-boned deconstruction of classic horror scoring jolted by noise and industrial motifs, sounding somewhere between Demdike Stare's early work, John Carpenter and Mica Levi's by-now-classic soundtrack to Under The Skin.
You could neither classify Regression as a Noise record nor an Ambient one, instead the synth dissections and tape treatments more closely reference early electronic music. 'Trapped' offers little of the claustrophobia suggested by its title, although the continual woody knocking sounds and filthy oscillations do engender a sense of unease, while 'Dread' brings to mind the Desmond Briscoe soundtrack to Nigel Kneale's The Stone Tape. 'Under The Skin' returns to the more esoteric, intangible sound designs that characterised the album's opening, writhing around in a spluttering, tactile fashion that's at once sonically rather beautiful but deeply sinister, modulating through grisly synthesiser gestures while more textural, percussive sounds flood through dub-style tape delays.
Young has an uncanny ability to make sonic extremes sound incredibly seductive, and this volume is perhaps the most engrossing exposition of that unique ability.

Andy Stott's 4th album draws for inspiration from the fourth-world pop of Japan's Yellow Magic Orchestra as much as it does Triton-fuelled Grime made 25 years later. The album opens with the harmonised, deteriorating pads of the opening Waiting For You and arcs through to the synthetic chamber-pop of the closing title track, referencing Sylvian & Sakamoto's Bamboo Houses as much as it does the ethereal landscapes of This Mortal Coil and Dead Can Dance. In between, the climate and palette constantly shift, taking in the midnight pop of Butterflies, the humid, breathless House of First Night and the endlessly cascading Forgotten.

Longtime vocal contributor Alison Skidmore features on half the tracks, sometimes augmented by the same simulated materials; voicing the dystopian breakdown on Selfish, at others surrounded by beautiful synth washes, such as on the mercurial Over, or the dreamy, neon-lit New Romantic.
It's all far removed from the digital synthesis and the abstracted intricacies that define much of the current electronic landscape. The same cybernetic palette is here implanted into more human form; sometimes cold, but more often thrumming with life.

Dance Tracksz is the body-checking return of Prostitutes to Diagonal, a no pretences rave set built minimal and raw for hard worked 'floors. The label's Cleveland, Ohio ambassador has cut out any sentimentality and gone straight for the rave jugular with no concession to ascetic consistency, knocking up one of his fiercest examples of brutalist funk in the process It's Prostitutes' 3rd and most substantial release for Diagonal, a swaggering and unzipped affirmation of the styles on 2013s Shatter And Lose and Ecstasy, Crashing Beats And Fantasy from 2015, and clearly catches the label's close ally in the mood for getting wasted.Prostitutes' Dance Tracksz are skooled with the sort of street knowledge and bluntness that perhaps comes from life as a Technopunk in a blue collar industrial city such as Cleveland, OH: the bullish, PCP-style hardcore bookends of Ah Yeah and War Goes On say their piece in no uncertain terms, whilst Bottle spits pure industrial street funk and Prey deals in riot-inciting jungle-tekno.
Even the album's sole moment of sentimentality, I Luv U Bruv
- a gesture of affection for his label boss, Powell - is delivered with an acrid lash of electro-techno, but at least you know he means it. In a soundworld spoilt for choice, Prostitutes' refusal of shiny tricks is admirable and almost subversive in the face of hands-in-the-air breakdowns, but there's something about the way he wrenches out every last drop of rusty, jacking funk from his machines that leaves no doubt about Dance Tracksz
effect at close quarters.bout Dance Tracksz effect at close quarters.

Third instalment of the Unknown Entity series, this EP delivers four tracks of science fiction and horror soundtrack inspired Techno. The A side is dominated by two floor ready cuts, lurching thumper FEART and a devastatingly broken remix by Serbian producer Scalameriya. Side B trips into leftfield territory with sleep deprived creeper Peripheral Visions. The Serbian connection continues with LAG delivering an offkilter franticly driving reworking of the original.

Support From ORDE MEIKLE // RIVET // MIKE DARKFLOOR // NORMAN NODGE // SCALAMERIYA // LAG // MARTYN HARE // SURIT (NX1) James Ruskin // Sev Dah // Takaaki Itoh // Par Grindvik // Kwartz // Markus Sukut Laurent Garnier // Roman Rubique // HD Substance // Nihad Tule // Xhei // Patrick Seich Ryuji Takeuchi // Sandrien // P.E.A.R.L. // Joton // TWR72 // Ctrls // Truss // Dave Tarrida Patrick DSP // Patrick Walker // INGEN // Clouds // Substance (Dj Pete) // Perc // Zenker Brothers // Forward Strategy Group // Bleaching agent // ROD

dedicated to promote young and evolving artists and to present musical diamonds in the rough, raster-noton is curating the unun series which name refers to the chemical elements 111-119. »unalloyed, unlicensed, all night!« is jesse osborne-lanthier's first release on raster-noton, and the ninth and final release of this series.jesse osborne-lanthier is a berlin / montreal based, canadian electronic music producer and multidisciplinary artist. his erratic research process incorporates the urgency of dance music and conceptual electronics by disassembling their grammar and acting through it. refusing to follow the etiquette of a particular musical genre, he explores many creative practices in order to generate clashes of mood, expectation and technique.
»unalloyed, unlicensed, all night!« was recorded by osborne-lanthier a mere two hours before a live set in paris. its specific purpose was to generate a response from the audience, to stimulate their bodies through sound. the toolbox for this task was stocked with automatic call-and-response music tropes drawn from EDM, big-room house, trance, and online production tutorials. between the producer's idiosyncratic by-the-numbers process and the rushed nature of the composition, the final product is rendered unpredictable; each signifier transforms into a distorted ghost of itself. this allows for unexpected responses to manifest on the dance floor as well as in the listener's space of existence.

On A Business Trip To London is an album of curious electronics and sissy dance conceived under the shadow of Big Ben by Vivid Extreme. Initial research carried out at Ibis City Hotel, London; purple nail polish applied in Berlin and New York City. The result is the perfect and perhaps overdue meeting of emasculated P.E, limp-wristed ornamental industrial, sickly minimal synth and cheap suntanned trollop techno. What's more, its tinny rhythmic ringtone cycles of humiliation and debasement evince an unlikely humanity: there is yearning behind the red ballgag and loud make-up cake; Duck's piggy eyes betray an implacable melancholy. Indeed, despite the sexually explicit nature of its content, On A Business Trip To London is a highly accessible and often disarmingly pretty work which will appeal to the belissima ballerina in all working men. Required listening for all who admire those qualities most fascinating in a woman: allure, magnetism, power and dominance. Exploring Jezebel has been active since 2008's Locking Up The Husband's Penis Is Not Slavery, But Rather The Greatest Act Of Kindness Given To A Man and Attending UCLA Lecture On Forced Feminization, and notable releases since include the 12-hour, 8-cassette set Penis Torture Chamber (2010) and 2014's Performs For Her And Her Bulls (all Hospital Productions). On A Business Trip To London is Exploring Jezebel's first vinyl offering, and is presented in a full colour gatefold sleeve with two printed inserts; the album will also be issued on CD and digital formats. This release is for ADULTS ONLY. It contains uncensored sexually explicit material unsuitable for minors. You must be at least 18 to purchase this item. Access and/or ownership may be prohibited in certain states/countries.

This latest installment in the Stroboscopic saga once again calls upon the talents of two label veterans, both having released EPs on the label while also contributing to its five-year retrospective series. This new split release shared between Kangding Ray and Rrose is a fitting partnership: after all, both individuals are known for advancing the progress of rhythmic electronic music while drawing from creative influences and movements that weren't typically associated with the 'techno' lineage until these producers made such links possible.

Kangding Ray's side, Ardent,' is a gripping and propulsive piece formed in the same spirit as the songs from his latest full-length, Cory Arcane. Dramatic and cinematic from beginning to end, it makes the listener and/or dancer feel like a highly alert martial artist slicing and kicking through a host of liquid-metallic adversaries, with disciplined synth bass and rich melodic swells as defensive weapons. Slick and accessible without ever being conventional, Ardent' convincingly collages stuttering and minced sequences together with steady percolation and smooth, brassy undertones - three different sonic 'states of matter' that unify to make Kangding Ray's musical imagination into an almost tactile thing.

The entity known as Rrose, meanwhile, presents a track here that reaffirms that artist's expert skill at crafting perfectly symmetrical and mesmerizing musical palindromes (a skill that can be seen on other standout Stroboscopic Artefacts tracks like The Stare,' and also on Rrose's interpretation of James Tenney's classic palindrome Koan (Having Never Written A Note For Percussion)).' The track in question, Swallows,' is appropriately named, impressing upon listeners like the sonic equivalent of a massive searchlight which, once it lands upon its target, swallows or vacuums up the listener's conscious attention. This elegantly arching set of multiplying and disintegrating waveforms rewards those with the courage to return its insistent gaze and to play at maximum' volume to reveal the wealth of detail concealed within its deceptive minimalism.

With its scientific exactness and sheer originality, this split is an essential listen not just for fans of either artist, but also for any seeker after new perceptual revelations.

1x each customer!

Ace four-tracker.
Caves was created in the aftermath of a devastating set by DJ Stingray, and sounds like it: storming but funky, infused with the spirit of classic Detroit techno. Spacetown marries Arpanet and John Carpenter, with a saturnine melody which sticks in the mind.
Flip it for a deadly Caves remix by man-of-the-year Convextion, inimitably sci-fi but banging, and the elemental, ambient accomplishment of The Strips, consolidating the promise on show throughout.

* Vogue, energetic, prepossessed, new...that's you. Bonaface give me ingenue. Trill, lithe, that's what you do...baby how strong are we What would you say, what wouldn't you do for the crew

* 'Pure, Beyond Reproach' is the new studio album from vibrational club artist Egyptrixx. New sensations + new energy, jeep music for a Saturn moon. An exercise in physical sound and granular symbolism, this record suggests a parallel between the total impact of human tendency towards absolute loyalty and an imagined, sub-threshold percussion of collisions among all the oceanic micro-plastics. Bap emotion >> this and that.

* The aesthetic is pacific litter clank, chill torrents and artificial triumphalism...actual glow. Repetition apes tidal energy, a reminder of the revolutionary capability of sound. splashing, pounding, dripping, phasing. Glinted piles of shatter swept back and forth - crystal ammunition // liquid contemplation. Anodyne ammo mimics the erasure of ethics via dispersion, backlit by the low key petroleum tangle of bffs/oblivion.

London-based duo Jamka return with Inter Alia, the latest evidence of their patient, intimate
relationship with their analogue machines. From the start there's a sense of event - we encounter
clear, interlaced electronic textures, powerful analogue drones and well-placed beats.
The tracks aren't soundscapes so much as fertile electronic soundfields. Patemp continuously
expands in an incredibly subtle but powerful way and shows that Jamka's technical skills don't
preclude an emotional touch. On the tight and minimal Anazmo, the coiled energy bears traces of
minimal techno and radical electronica, but it's beyond either of these. While the album passes
quickly, it's full of detail and the thoughtfulness and craft that have gone into it are evident. Dwa
offers the chance to appreciate the flow and the sheen of its analogue textures - the modernist
romance of the power line hum and its promise of technological-cultural progress. Jamka are
known for their dynamic live performances and this energy is almost tangible on Derazor. The
stately Igora is a strong, bold close to the album, offering surprises right till the end. The sharp,
metallic details ripple through the mix and an anthemic sequence shines through.
Inter Alia makes clear that Jamka are worthy inheritors of Slovakia's proud late modernist
traditions of radical architecture and electronic music. This is a work of craft that demands respect
and repeated listening.

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.

Prolific electronica polymath Emika found acclaim once again this year with new studio album 'DREI', an opus that picked up Ibiza Spotlight's 'Album Of The Week' accolade and was called a fascinating album' by Rolling Stone. With six new remixes on this EP, further life has been breathed into her latest LP - with stunning results.
UK techno legends The Black Dog provide a foreboding rework of Battles, all brooding pads, electro glitchery and stomping breakbeats.
Kamikaze Space Programme's version is more dramatic still, returning the favour after Emika appeared on his own 'Choke' recently.
CNCPT (Brenda, Natch Records) kicks off the remixes of What's The Cure with an industrious slab of dubbed-out, reverb-heavy techno, doing away with Emika's vocals entirely and instead making use of her sound design expertise with subtle finesse.
Mysterious German Clone and Bunker affiliates The Exaltics tap into their electro roots on their rework with a thick, rubbery bassline working its way under a simple, atmospheric arrangement that allows Emika's honeyed delivery to take centre stage.
Borai (Tasteful Nudes) teams up with Emika herself to provide a stripped-back, heavily-swung, stomping take on the track, boiling it down to its melodic and textural essence.
Eomac rounds off the package with his stunning string-laden instrumental interpretation.

Staggering return of Italian noise daemon Nino Pedone a.k.a. Shapednoise; flanked by Roly Porter, Rabit and Emanuele Porcinai for a head-rinsing concept suite inspired by the Serenity
Manifesto of Eric Burton (Rabit) and Francesco Birsa Alessandri ov Haunter Records - a sort of poetic inversion of Luigi Russolo's futurist manifesto, The Art of Noises (1913), updated for 21st c.
politics and sound-fields.
Cementing a stark reminder of noise music's subversive, contemplative power when given proper context, Deafening Chaos Serenity is about finding space for reflection at the eye of the storm, and about grasping the visceral sensation and metastasising madness of reality in all its overgrown, apocryphal ambiguity. It's about learning to work within in noise's wildly unpredictable parameters, rather than attempting to negate them.
Just as with this album's predecessor, Different Selves, and his work in The Sprawl trio with Mumdance and Logos, collaborative energy continues to generate some of Shapednoise's
strongest work across Deafening Chaos Serenity, from the fundamental conceptual impetus supplied by Burton & Alessandri's manifesto, to the absorbingly visceral manner with which he puts it into effect.
In four of the five tracks, oppositional, if sympathetic forces generate the necessary friction needed to look beyond and suppose new forms, structures. In Motion & Depth or the bleached electro-acoustic structures of Delusional Path he dissolves the tension of Emanuele Porcinai's strings into a syntax of ecstatic physics, whilst the subatomic diffusion of Resistance to a Harmonious Vision with Roly Porter speaks to a experience of luscious sensory overload, and in Pulling at the Seams of Existence, the record's most tumultuous shredding out loud/quiet, violent/peaceful distinctions, he and Rabit embrace the discord of uncertainty with unflinching vision, almost like Turner tied to the mast and facing a stormy future head-on.

Graciously welcoming the second full-length lp from Philadelphia's Jesse Dewlow, recording under the moniker People Skills. The follow-up to 2014's Siltbreeze set Tricephalic Head. Ten sunken songs, derisively adorned with rhythm and rudimentary dub effects. Bedroom elegies for the lost and irretrievable, last-ditch spells for transformation and renewal. Thurston Moore and Byron Coley likened the previous record to South Island NZ pop played inside of an armored car', and that description holds here: underneath the hoods of these wracked and weather-beaten recordings are melodies of disarming beauty and optimism, bordering on the (wilfully) mawkish, bubblegum ground underfoot. Each piece as time-stopping and evocative as an old photograph of someone who used to mean something. Whether speaking through stately keyboard pastorals ('Mint Julep'), rat-arsed rock 'n roll slur ('89¢ Public Render') or sulphurous aggro-electronics (the two-part title track),Gunshots At Crestridge exposes, then seeks to redeem, all our tiny acts of self-sabotage, all our sins against time. When to stay, when to go...you never got it right, not once.

Debut solo release from Midnight Circuitry, showing a dark, polished amethyst with aromatic notes of white pepper, tobacco, and black currant; silky with a palate of dark plums, black raspberry, and hints of French vanilla. Closes with subtle tart black cherry and a lengthy, structural finish.

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.

Hospital Productions collect some of the strongest coldwave pop dirges of a generation in Contrepoison's Discography 2010-2012 survey, wrapping up both his self-released tapes and releases for Dominick Fernow's cherished imprint.Since the late '90s, Québécois musician and noise artist Pierre Marc-Tremblay has been recognised as a vital force in nether musical realms with a palette ranging from hermetic black metal (Akitsa) to the bitterest rhythmic noise (Âmes Sanglantes), and, more recently, the nerve-bitingly melodic pop of Contrepoison, whose I Keep On Searching 12' - included here - is a dead firm fixture 'round these parts.Arriving at the vanguard of a new slew of coldwave revisionists and fetishists in 2010, his music stood, and still stands, head and shoulders above the rest thanks to an incessant drive and directness that can't be ignored by anyone into the original stuff, or who has arrived via the sound's prevailing, contemporary winds.Vacillating belting vocal pop arrangements with howling, stygian instrumentals of synth, guitar and enslaved drum machines, Discography 2010-2012 drags a perfectly malformed body of work, cycling chronologically from the pounding mix of industrial kicks and neofolk cadence of ...Until Next Morning's amazing title cut to the blank-eyed dirge of To Never, Forever, before taking in the stomping Deserted Story from his 2011 split with Vatican Shadow, and committing the frankly fucking addictive hits of I Keep On Searching, best summed up in that raging, glam title tune and sandwiched with aces from the compilation Around The Dragon's Broken Neck Hangs the Medal of Saint Lazarus.It only gets more wonderfully bombed out and crestfallen from therein, from the plangent siren call of Nectar of Destiny to the exclusive instrumental, The Moon Has Mad The Eclipse, and a grip of killers off The Thunders Which Collide tape, including the raging banger The Thunders Which Collide and another cut exclusive to this set in the T2-finale-esque instrumental, As The Blazing Sun Enters Scorpio.Basically, it's riddled with memorable hooks and rages like a wounded beast trapped down a well. You'll know within seconds whether you love it or not, and we definitely fall in the former category.
Hugely recommended.

Two long sides of doomed out distorted techno. Full improv on the machines with vocals and a shitload of attitude. Fallbeil have been making serious waves lately and we are happy they are back at NYH with some of their heaviest jams to date.

A very limited vinyl sampler here for the forthcoming CD album 'The Topics'

Following recent singles 'Clusters (Remixes)', 'Continuum' and 'Parallax' Dronelock & Ontal join forces for the collaboration's biggest release to date - 'The Topics'.

Dronelock and Ontal's joint label venture Shadow Story is a base for the dark, industrial exploration of sound that all four corners of the British/Serbian double duo employ as their modus operandi.

2013 saw a trio of EPs from Bradford residents, Dronelock (aka Martin Cartledge and Alexander Church) on the revitalised Weekend World label, which gathered support from the likes of Surgeon, Lucy (Stroboscopic Artefacts), Lakker, Inigo Kennedy, Pearson Sound, Adam Beyer, Marcel Dettmann, Detroit Grand Pubahs and many more. As one might expect, techno provides the perfect sanctuary for their production ideas to manifest: ambient, ethereal soundscapes meeting sustained clusters of tones.

Last year saw Dronelock start the label, Shadow Story, a joint venture between themselves and Serbian duo Ontal (Boris Noiz and Darko Dekode). Forming an industrial techno/rhythmic noise project, Ontal (based in Subotica, Serbia) can be described as an uncompromising, hard and intense assault.

'The Topics' is a distillation of ideas captured and expressed by the foursome through the industrial and synthesized, the organic and the abstract. The tracks are produced primarily on analogue hardware with the sole intention to perform them live. This process allows freedom to experiment with the base level interaction between sound and music. As they say it's music which is about as far away from music as you can get before it stops being music!' music as you can get before it stops being music!'

Perc Trax unleashes the first of three vinyl EPs showcasing the new tracks from the label's tenth anniversary 'Slowly Exploding' compilation, mixing up label regulars with established names making their Perc Trax debuts. Forward Strategy Group begin proceedings with the grinding broken beat rhythm of 'Dragons Tooth' before Happa opens his Perc Trax account with a percussive assault that is amongst the most aggressive tracks on these three EPs. Martyn Hare, another Perc Trax debutant, delivers the Awakenings festival slaying 'The New Normal' to kick off the B-side and US producers Mick Finesse and Pinion team up for the first time on the B2 with the industrial Amen groover that is 'Dead Boyfriend Alley'...

Dark Entries returns to the New Jersey basement studio of Smersh to unearth a 4-track selection from the 'Deep House Anthems' cassette. Smersh was the duo of Mike Mangino and Chris Shepard, who began making music together in 1978. They were uninterested in traditional notions of songwriting or live performance. Recording in a domestic setting necessitated the abandonment of live drums for rhythm machines, and the Smersh sound would gradually change with each new bit of gear they acquired. The Electro-Harmonic Rhythm 12 gave way to TR606, TB303, and SH-09. Most Monday nights, they would write a new song from scratch. A couple hours later, the song was recorded, never to be performed again. By 1988, they had already put out at least 16 different tapes on their own Atlas King imprint. They would be followed by as many more. Some of those (subsequent) tapes there were less than 10 copies that got made because nobody wanted them. They couldn't get reviewed,' says Mike Mangino. As these tapes traded their way across continents, Smersh developed a devoted following in places far beyond Piscataway, leading to releases on dozens of other labels from around the globe. Smersh's sound is a lush hybrid of techno, industrial, dance, and experimental. Most songs revolve around driving EBM style beats, intricate industrial noise manipulation and synth melodies. For 'Selected Deep House Anthems' we selected 4 tracks of pulsating acid techno, which were recorded live, direct to DAT. All songs were originally recorded and released in 1991, and this the first time all but one of these songs are appearing on vinyl.

AnD finally make their full Perc Trax debut !
Features full printed jacket
DJ feedback to follow

Berlin / Manchester noiseniks AnD finally make their full Perc Trax debut after first appearing on the label in 2014 when they served up a suitably screw-faced remix of Drax's 'Phosphene'.

Now regarded as one of the most uncompromising production outfits on the European techno scene they widen their musical vision across these four tracks without leaving behind the raw aesthetic and driving energy that has characterised their music and their live performances over the last few years.

From the kind of straight up 4/4 pounders that have made the closing slot at Electric Deluxe's Awakenings events their own, to experiments with off-kilter drums and caustic noise this EP is as good a statement of AnD's present and future as you'll hear all year.

* After already making a name for himself releasing on Jurg Haller's Forbidden Planet imprint as well as Melbourne's Butter Sessions, Dan White (real name Rory McPike) unveils his latest project: 2200.

* 2200's debut EP for Cult Trip sees Rory give us a true appreciation of the Dan White sound that has given him a reputation as one of Australia's finest. Lead by acid burner and title track, 'Killed By Deaf' 2200 comes with the goods unleashing the gem that is 'Outlaw'. On the flip, we're brought back to Rory's modernist techno roots with the introspective soundscape 'Technocracy' that acts as a prelude to the monster that is 'The Rig'.

Recorded in Melbourne, Australia. Mastered at Dubplates and Mastering Berlin.

Cute Heels is the solo project of Bogota´ born, experimental producer Victor Lenis. Since the early 2000's Lenis has been working on a myriad of electronic projects, including the management of the labels Black Leather Records and Romance Moderne, in his current home of Brussels. Drawing on the influences of the radical punk scene that surrounded him growing up in Columbia while nurturing his passion for synthesizers and drum machines, Lenis developed the broody, gloomy brand of electro-techno that is Cute Heels. Deemed by Juan Atkins as ''the new blood and spirit for the next step in techno music'' Cute Heels has released various digital only releases over the years, as well as his first vinyl release, an EP on Gooiland Elektro. His debut album Spiritual, rides the line between cold electro-techno and left field electronic body music. Inspired by equal parts Liaisons Dangereuses and Drexciya, Spiritual takes the listener on a journey over 8 tracks and 40 minutes of music. Listening to "Spiritual" you can see why. The songs on this full length reveal a sublime influence from Detroit techno, early Chicago house and new wave; advanced electronics for the dance floor, pumping and sophisticated. The album was recorded and mixed by Victor at Sensorium Studio in Zagreb, Croatia in November 2013. Each song has been mastered for vinyl at Fantasy Studios in Berkeley by George Horn. Each LP is packaged in a custom-made jacket by our in-house designer Eloise Leigh and incorporates the geometry of analog synthesizers and celestial rose patterns. 

Dubbed-out cosmic pastorals and politically exasperated techno-exotica from Blackest Ever Black's most secretive and shape-shifting project. Guest contributors include Conrad and Jonnine Standish of HTRK, Genevieve McGuckin (These Immortal Souls), and Lucas Santanna. The ghosts of Les Baxter, Rowland S. Howard and Nina Simone are also in attendance. But whoever is pulling the strings remains hidden...possibly in plain view. Structurally Wreck His Days recalls the grand collective statements of This Mortal Coil or Massive Attack, but musically its dreamlike overtures have more in common with Deux Filles, Global Communication, Arthur Russell, Penguin Cafe Orchestra, Anthony Moore, even Robert Wyatt circa Old Rottenhat/Nothing Can Stop Us. It roams far and wide: from the lambent, near-Balearic piano loops of the title track, to the Audrey Horne-worthy death-jazz of 'Ghost From The Coast', and hulking, bass-heavy soundsystem weapon 'Reverberasia'. Side Two opens with the swelling, uplifting astral psychedelia of '...And I Tried So Hard', while 'I Beat As I Sleep As I Dream' reprises the bleak existential synth drift of T.T.W.F.U.'s extraordinary 2014 10', How Great A Fame Has Departed. A deep-seated socialist impulse drives the whole thing: with a dedication to women who have fought oppression throughout history, references to the Spanish Civil War and the UK Miners' Strike, and an overarching belief in the international ideal (in fact the closing 'Rosa / Kollontai' explicitly invokes the Internationale). Written and recorded over the course of 2014-15, Wreck His Days is a plea, or perhaps a requiem, for a world that embraces difference and upholds equality. Its contemporary relevance hardly needs emphasising.