Techno News

* Though Berlin is not the most ancient of cities, its streets hold sounds as old as the gods. Imagine a venue not as a concert space, a dance hall-but as a druidic circle, a pagan place where each beat forms the ritual of audio worship.

* The ritual of Gainstage is a contemporary solution to the need of most lifeforms: a connection to the natural orders, given over to the uniquely human need to sweat heavily in concrete boxes. The trance-inducing structure of their compositions allows the mind to surrender itself into an alternate version of our world, given birth by their hands and wills.

* Evoking the old spirits of the Earth using modern technology, Pierce Warnecke and Arik Hayut embody the truly terrible and awe-inspiring aspect of Gaia in their tribalistic doom-tech rhythms.

—The flesh- an arcing wash of searing electronics rhythmic and ethereal—
—covers the bone—a precision of crushed drums—and reveals the raw, moraless face of savage nature—

* The devouring and the devoured, black soil that birthed us churned with vivid red. Looming, as always, the death-spectre of the even more savage Man: metallic crashes of industry, the warning wail of sirens, the chug of steel engines grinding and pounding the landscape into waste and ash.

* On this post-necropolictic plane, the ritual fires of Gainstage still burn. This great and terrible work, this landscape of shattered Earth, is the stage where they conjure yet more shapes from goddess flesh. Bend your will to theirs, and let it too be shaped.

* Featuring a murky remix from Cut Hands; reshaping 'Obsidian Organ' in to a clattering, serpentine slice of militaristic jungle-techno. A different perspective on 'Sun Burnt Cloud' is offered by Orphan Swords, weighty and slow-burning sci-fi-laden dance music for the grimmest of futures.

* Blessed Initiative is a project by Yair Elazar Glotman, which suggests a dissonant, coexistent state of extreme highs and lows. The album attempts to articulate a mental state of simultaneity, in which equilibrium is fleeting, fragile, and its scarcity is embraced. Opposite states coincide, contrast and reflect, creating moments of uncertainty and insecurity. Absurdity and at times even bliss are possible results, in the attempt to channel anxiety into creative forces rather than debilitating ones. In an environment where personas are the sums of the images they project, sounds are also no longer evidence of invention but of ever-changing combination, curation, and editing. The final persona is a sum of the chosen and the deleted, as well as what may be projected from outside, creating a confusing and conflicted self. The sounds collected here are attempts to compose on these uncertain grounds, and to reflect the anxiety released in all these sources' meeting and interaction. As a singular project, Blessed Initiative stops to comment on the conditions that inform Glotman's composition before and after it, and to acknowledge it as a non-linear, ongoing process.

* The focus on process and uncertainty is apparent in the album's phrasing, re-articulation and cycles of repetition and deviation. The pieces were composed from sounds generated on the KYMA system, personal foley recordings as well as tape manipulations techniques. Minor sounds on major scales and micro-tonal tuning suggest an ambiguous harmonic sphere. These were then integrated within idiosyncratic rhythmic structures, at times integrating real spaces and resonating bodies as reverb and augmented echo chambers. Concrete, almost-recognizable organic sounds contrast with these abstract spaces and connect them to tactile experiences. These textures and structures are a palette that reforms and deforms as it cycles throughout the album.

* The photographic series "Relax (blue)", 2004, by the artist Josephine Pryde was chosen for the album's cover as a materialization of tension. The two images represent a closed cycle of energy and unfulfilled release.

* Yair Elazar Glotman is a classically trained musician and sound artist based in Berlin whose previous works on Subtext include the LP 'Études' and a collaboration with James Ginzburg titled Nimbes.

Spondylolisthesis' is the forward displacement of a vertebra, especially the fifth lumbar vertebra, most commonly occurring after a fracture. Backward displacement is referred to as retrolisthesis."

{Four songs in autobiographical sequence}
- Abandonded
Abandonment through Tibetan eyes
- Kataniksis
From death to life again!
- Cortisone
Cortisone who restored hope when it seemed lost.
- Endorphins
Endorphins are one of three main groups of endogenous opioids produced in the brain, with representative beta-endorphin, which has the strongest analgesic action.
Marked worldwide as the anti-stress hormones and natural analgesia and happiness..

Five metal-heavy cuts on a clean plate from the still mysterious The Hague based burrow. Comes in all-white all with psychoactive inlay tissue.

Dominick Fernow laces up his Vatican Shadow boots for the project's first set of drills since 2014 and one of its finest ever transmissions, trampling in the wake of his fierce new Prurient record Unknown Rains, for Hospital Productions.
Reflecting on a world much unchanged, even intensified since his last dispatch, Media In The Service of Terror works classic VS signatures measured with increased momentum and propulsive energy, divided into seven parts and imbued with that dramatic melodic arrangements that works beyond the club.
Stepping farther away from the 'floor, he's in scowling, contemplative form with Ziad Jarrah Studied Mathematics and at his best when working between spheres, as with the industrial reggaeton roil of Take Vows in both its versions, and particularly the pensile atmosphere of Interrogation Mosaic.
One of the best Vatican Shadow drops - bar none..

JASSS debuts on Mannequin Records for the "Death Of The Machines" series with a killer 3 track mix of ebm/industrial & wave on this heavy 12''. Perfect for the most abrasive dancefloors. Mastered by Rude 66. Tip! Mastered by Rude 66. Highly recommended!

Pattern Damage is the 2nd flash of idiosyncratic footwork and garage hybrids from South Yorkshire's Rian Treanor, landing on The Death of Rave nine months after his coiled, nerve-sparking debut 12".
The EP's four tracks take the unmistakable influence of Mark Fell's angular, academic 2-step designs into faster BPMs and colourfully chromatic, sidewinding arrangements, all driven with a
breathlessly forward, quicksilver style that's entirely Rian's own and with few comparisons in the current field.
By splicing the syncopated swing 'n parry of Sheffield's speed garage sound at +8 with the whirlwind flux of Chicago footwork, Detroit jit and the dizzying dynamics of Max/MSP software,
his sound dances in a double refraction of ideas and influence between US, Afro-Caribbean and UK dancefloors in various stages of integration and mutation, following a line along Black-rooted dance music and the sharpest edge of experimental electronics in a way that's informed the best, open-minded UK music since the '60s.
Operating exclusively at a signature 150bpm tempo, the Pattern Damage EP finds Rian both opening out and refining his sound, greeting you with the brutalist, grimy n0!se torque of Pattern_A1, which sounds closest to SND or Errorsmith's most oblique twisters, before the dub chords and skittish rhythms of Pattern_A2 recall Autechre getting off at Niche Club (R.I.P.) and Damage_B1 comes off like a giddier, footworking answer to Hyph Mngo and Damage_B2 unfolds a super cute and tricky sort of syncopated rhythm origami.

Guy Brewer returns to his Avian label with a a two-part EP, Arrangements In Monochrome - his first Shifted releases since last year's Hospital Productions album 'Under A Single Banner'.

Although not conceived as an album project, Arrangements In Monochrome's two EPs can be viewed together as a single entity - the result of Brewer's continuing exploration of textured noise excursions and muscular techno of considerable drive and heft, all the while retaining a cinematic quality within its quieter moments.

The simultaneous release of the two EPs arrives in December, bringing to a close a year that has seen Avian release the sophomore album of Swedish duo SHXCXCHCXSH and EPs from Sigha and Alessandro Cortini's Skarn alias.

"Arrangements In Monochrome was written in my new studio setup in Berlin in spring of 2014. I almost view these works as an addendum to last years 'Under A Single Banner' LP. I was very happy with that record but always felt that perhaps there was some things left unsaid. The technical process involved this time around was quite different, but it shares a lot of the same colours and textures." - Shifted

The artwork for Arrangements In Monochrome is by Jesse Draxler

Sequenced, Processed and Mixed By Shifted, Berlin, 2014 - Mastered By Matt Colton at Alchemy, London

Back to basics with two heavy rhythm edits/tools. A-side features label boss Paul du Lac's edit of T.O.Y.'s 'Drum Electronic Sound', a dark and menacing mid-eighties instrumental italo/electro track (original version was recently released on Bordello a Parigi), B-side features a simple yet highly effective and relentess minimal drum cut by herr Mick Wills... no need to say more... Vinyl only.

Cititrax present the second in a series of four song samplers showcasing the talents of some of the most innovative producers of the moment. Cititrax: Tracks Volume Two features the fearless and ultra-talented Chinese producer Tzusing, the raw avant-garde electronics of London based producer L/F/D/M, creative West Coast powerhouse Silent Servant, and prolific underground French producer Maelstrom. The overall sound can be described as modern, uncompromising and guttural. Each artist reinvents dance music by bringing their own unique vision to the floor.

'And when he had opened the fourth seal, I heard the voice of the fourth beast say, Come and see. And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.' (Revelation 6:7-8)

For the 4th reference , aka Vincent Drvg Cvltvre Koreman gives us an EP with three issues dark acid narcotic. Apocalyptic music that will transport you to the end of the world . Soundtrack industrial version of Mad Max . Sounds no tomorrow. Electro highly explosive bazooka that will not leave puppet head . ! In short ... I sound mortar explode in your mind and not your mouth.

* Little Hill Records, based in Rome, presents his first very limited Various Artists; composed by a double LP released on 100 signed copies; a mixture of club tracks with experimental stuff: from Ambient to Dub passing through Acid, Hypnotic Techno and hard groove.
Featured: Lorentz, Vincenzo Pizzi, Luciano Lamanna, Beat Movement, Mutecell, T-Kode, Manuel Di Martino, David Meiser, Nemrac, Code 701.

* Litte Hill is a Rome-based music label with it's sound rooted in electronic music with techno and dub influences.

- Second album from sisters Tanya and Nadine Byrne's Ectoplasm Girls after a 5 year wait - An incredible mesh of pulsing techno, esoteric electronics and alt-pop - Edition of 300 copies


Finally, Ectoplasm Girls' long awaited second album is here.
Five years have elapsed since their surreally compelling TxN LP for iDEAL, in which time they've not so much as refined, but followed the same, winding paths to equally murky conclusions in New Feeling Come.
The Stockholm-based duo of Tanya and Nadine Byrne, a.k.a. Ectoplasm Girls, sound like the progeny of some ancient, mythological creature as opposed to anything of this earthly realm. Their music distills traces of post-techno, doom metal and esoteric electronic pop into a skin-crawling residue that strongly resonates with their name.
As with the aforementioned TxN - a unique highlight of the 2011 schedule - their follow-up spells out a mostly wordless grimoir of slow, writhing rhythms, bittersweet tones and phosphorescent texture incomparable with almost anyone else we can recall, bar maybe Coil or the that ghost band who soundtracked your dreams last night.
Perhaps more so than on TxN, in this instance they feel more faded, detached from the listener, drifting thru 15 stages of séance-like ambience with an incorporeal presence belied only by their clammy sleight of hand and vaporous traces of breathing.
It's all dark as you like, but crucially with a sense of ambiguity that allows for interpretation depending your mood and ability to discern between poltergeist like trembles and the spirits of two possessed, possibly playful, Swedish girls. Either way it's wicked and well worth the wait.

The gifted producer behind Mønic and Kryptic Minds returns to Downwards under his own name with a crushingly physical testament to his knowledge of soundsystem dynamics and how to sustain knife-edge atmospheric tension.
The Lust Product EP offers four tracks of stare-down halfstep techno and grubby rolige that's patently a product of so many years manning a DJ booth and dancefloor. Lessons learned from the hard edge of D&B and how to properly make the speakers shake are at the core of each cut, ruggedly manifest in the cement mixer churn and deathly groan of System Living, and tightly laced to the Fishermen-esque, slow techno-meets D&B-on-33 grind in Silver Sun - a fearsome addition to our 113bpm techno folder.
But when he steps aside from the 'floor into more esoteric, dramatic headspaces and themes, he really proves himself a master of cinematic tension, recalling the most funereal rituals of Cut Hands in Lust Product's stygian trudge and sweeping low register string arrangement, or breaching the quasi-speed doom dub zones of Raime in External Laws.
Killer twelve.

Blackmass Plastics is constantly evolving. Mutating sound. Whether destroying dancefloors with hybrid monsters or making two-step(s) ahead of the game bass music that still sounds fresh after more than a decade, Blackmass Plastics defies convention. A producer and DJ long associated with Ugly Funk, this marks his first vinyl release for the label and organisation for which he is an integral component. This doublepack contains a range of shapes and guises, veering towards the kind of open-minded 'no skool' techno dancefloors that Ugly Funk have become well known for in their 18 years of putting on parties.

'Under the Radar' includes the much sought after Newton's Cradle. (released briefly digitally then swiftly deleted. UFU HQ have been inundated with requests to release this track on vinyl ever since). A fat analogue and dysfunctional rave stomp, described by both Jerome Hill and Truss as a 'KILLER' and reviewed in The Wire magazine - "Newton's Cradle.. a whole junkyard worth of clutter crudely popping and locking, everything shaking as if in a Roobarb and Custard cartoon".

This release also throws some light on his industrious studio experiments from the last few years. Twitchpitch and Lololp are among the first of the new mutant experiments to escape the Lab - on promo and derailing dancefloors everywhere DJs play them. Arresting, not easy to describe, these trax are precisely identified; infectious twisted brainworm loops brought alive by DIY noise box processing. Where Grime and Punk seem to meet at speed. Head on.

Also included is the brilliantly named HR Giger Counter - a stripped down UK Bass rattler for the Nuclear Waste generation, totally unique, you haven't heard anything like this before; whilst Doomatron and Harmonic Minor Chasm both give a knowing nod to The Mover and PCP, touching base with the place where, for Blackmass Plastics, it all began...

As Blackmass Plastics and under other aliases he has released records for Deadsilence / Rag N Bone / Don't / Victim / Coin Operated / SMB / Yellow Machines / Audio Illusion and his own Thorn Industries imprint.

'Under the Radar' tracks have received airplay on Rinse FM, Kool FM, Sub FM

Support from Truss, Jerome Hill, Warlock, Esther Ofei, Dexorcist, NoYeahNo and others

Eschewing the routine trappings of "tunes" and "melodies" in favour of drone and a strong cinematic sensibility, Jazzfinger bring to you their own unique brand of visual and aural exorcism. They start noisily. They incessantly build layers of white noise onto of layers of unwieldy dissonance. They recreate an auditory Armageddon with amps. They end noisily. They also unleashed 600 live crickets onto the audience at a gig once.

They have dozens and dozens of LPs, tapes, CDRs and lathe cuts out on a multitude of DIY labels, and they've finally released a 100-only double-A side - Beachy Head / Moroccan Car Park (D. Harwood remix) on the Distraction label. Ladies and gentlemen: Jazzfinger.

Recorded by Hasan Gaylani and Ben Jones.

'Beachy Head' remixed by D. Harwood.

Artwork by Thee Ruiner.

Packaging screenprinted and assembled by Tyrant, Design and Print.

Fabric Safety Apparatus Vol. 1 is the rst in a new series of club-oriented selections presented by Parachute. Featuring exclusive music from the likes of Italian industrialist Ayarcana, label co-founders Avatism and Clockwork, Meze, Metrist, M_REC boss Max_M, South London Ordnance and rong Assessment, it is due to be released this summer. Fabric Safety Apparatus Vol. 1 comes in a 2x12' package designed by Kero.

Berlin Atonal Recordings is happy to announce two forthcoming releases, both featuring live cuts from two of the most talked about performances at the 2015 edition of the festival.

Peder Mannerfelt supplies four jams fashioned out of his own exceptional live show at the festival. Raw, unsoftened, brutely analog sound from an EMS Synthi AKS punctures space in an oddly futuristic rhythmic experiment, gesturing at a brand new way of thinking about electronic music.

The cuts are also packaged in a special 12" featuring artwork based on his own breathtaking live audio- visual show.

"Abjura Detesta" its a 2 tracks EP which comes along with remixes from the Canadian duo Orphx and label owner P.E.A.R.L.

'Repetition Reinforcement' is a chilling reminder of Consumer Electronics' brute, incisive force and reaffirms their unique position in today's extreme electronic music.The long-running alias of former Whitehouse agitator, Philip Best, and now featuring vocals and music by Sarah Froelich & n0!se pioneer Russell Haswell, Consumer Electronics hold steadfast to an unflinching observation of, and reflection on, contemporary British culture, recently exemplified in the coarse noise techno rants of 'Estuary English' (Dirter Promotions, 2014). On both these new songs, though, Best's lyrics and delivery distil his bracing vitriol to nerveshredding degrees, trading the explicit rage of 'Estuary English' for hushed, under-the-skin implication, aided by Sarah Froelich's deadpan vocal and Haswell's streamlined, but ever visceral, frequency fxxkery. 'Murder The Masters' cuts right to the bone, (w)rapping a disaffected tirade in deeply unsettling, over-the-shoulder tones, skeletal techno kicks and clammy atmospheres. You can practically smell Best's breath on your neck.'Alien Existence' follows suit, swapping volume for skin-crawling intimacy. Here he shares vocals with Froelich in a probing dialectic of sexual politics smeared against sagging kicks and looking glass synth discord.Put simply, few other c*nts have the balls to broach this topic: best left to Best and co..

Imagine you are being invited to the studio of a visionary, and get to discover some brand new futuristic experiments along with tracks made 25 years ago that sound as if they've been made yesterday. Well that's what the careful listener who plunges himself in the album from start to finish should feel like. It is not very common to display a tracklisting that ranges through three decades, and call it an album. However, all of the music here is unpublished, exclusive, unreleased... It is also extremely rare to encounter artists that have never taken a break from studio creation, and this unbroken continuum is probably the reason why there is no relevance to any chronological classification of his work. The intent in the beginning, was to focus on the more recent, experimental side of In Aeternam Vale's work, and to look at his work through an angle that would be complementary to some recent techno releases on Jealous God or 80's gems on Minimal Wave. Only, a few visits to his studio in Lyon were decisive. Imagine seeing the history of 30 years of electronic music flash through your ears, just in a few hours. 'IAV' has been exploring new grounds and sometimes even pioneering new styles and subgenres several times, with literally hundreds of tracks to listen to. Words are not enough to describe this record's digger absolute dream : the discovery of a secret parallel universe where so much music has been created and kept under the radar. Playing live, IAV is quite notorious for hoisting his modular cases above his head in fiery resonant solos, as if an electric guitar. Rumor has it, a few live performances have gone absolutely wild lately. Laurent has lost nothing of the raw punk energy of his youth.

Phosphor(e) is mainly Acid based. Phosphor(e) contains more than sixty different standard types and his variant as many as in music styles. Phosphor(e) parallel between molecule and music can be draw. Phosphor(e), is a substance that exhibits the phenomenon of luminescence. Phosphor(e) must be played in dark. Sometimes it glows

Only 1x per customer
North American noise techno juggernaut, Ren Schofield, a.k.a. Container, hits Diagonal with full force on a blistering label debut that finds him in excellent company amongst like-minded freaks and dancefloor demolishers.
Delivered with a loony, snaggle-toothed grin, DIAG030 extracts five fanged and venomous 'floor tools that make few concession to notions of 'progress' or 'refinement' in his process: each bite is as downright nasty and feral as anything in a catalogue that spans Spectrum Spools, Morphine and Liberation Technologies
No bones about it, this is dance music for noisy minds and feral bodies, a gnashing and virulent session that gets under the skin and up your nose with the inorganic, metallic tang and skidding patterns of Vegetation before thwacking about with gleeful abandon to the gush curdled acid tones and salty, spattered drum machines of Soak.
Funnel is the EP's strangest, canniest creation - stepping with a militant wonk that sounds like nothing out there; Radiator consolidates suspension-testing electro with lacquer-bubbling noise; and Insulation wrests grimacing gremlinz from a battered array of non-standard, possibly-illegal hardware.
This is one for the gurners. You know the feeling — and Container nails it.

PAN return with their first vinyl release in almost a year, racking up excellent Beatrice Dillon and N1L remixes of Helm's Olympic Mess for the dancefloor.
Beatrice Dillon follows a killer run of appearances over the last twelve months with one of her most straightforward but engrossing productions to date, turning Helm's source elements into a rolling and stepping House play coiled with limber grooves and measured dancefloor pace.
Fresh off his debut for Lee Gamble's UIQ label, N1L hacks into the ambient environment of Olympic Mess to wrest a spacious but physically tense and lushly chaotic reflection o the same London stomping grounds which influenced Helm's piece in the first place. The template here is open-ended yet highly, incomparably distinctive, like hearing some hyper new cyborganism of bony drums, scaly electronic flesh and abstract, noisy guts coming into shape, yet never quite resolved.

'A scorched-earth take on Wax Trax-style electro-industrial that nonetheless point out to influences as diverse as Depeche Mode's Construction Time Again and Whitehouse's Birdseed. ' FACT

The year 2015 saw hardcore inspired EBM outfit, Youth Code, step into line with what most would consider is their well-earned stake in the current world of industrial music. Spending most of that time touring selectively on their own in Europe and then sweeping through North America with the legendary Skinny Puppy, Youth Code pulled together their newest songs, hunkering down with producer Rhys Fulber (Front Line Assembly / Fear Factory), and intertwined the ideas that would become their second full length album, Commitment to Complications.
Born in 2012 out of a Los Angeles bedroom, Youth Code was the instinctive creation of musicians Sara Taylor and Ryan George. The band made their spontaneous live debut at LA-based record store Vacation Vinyl's employee showcase. Word of the incendiary live performance quickly spread and was followed by release of the well-circulated, coveted, Demonstrational Cassette, which saw the band hone their semi-improvised initial set into something altogether more muscular, resonant and lean.
Soon after, Youth Code was invited to release a limited edition single with the legendary Genesis P-Orridge's label, Angry Love Productions. The single quickly sold out and saw the band receive praise from industrial heavyweights including Skinny Puppy and Front Line Assembly. Shortly after the single's release, the band signed with label Dais Records to release their 2013 self-titled full length album, which solidified the band's widespread critical praise from outlets as far ranging as Pitchfork, Fact Magazine and MetalSucks. In 2014, Dais saw through the release of their much anticipated EP, A Place to Stand, which featured remixes by Silent Servant, Clipping, God Module and Sanford Parker.
Since then, Youth Code brought their brand of Industrial to audiences all over the US on supporting gigs with AFI, Nothing, The Body, Suicide Commando and the now infamous Eye vs. Spy Tour with industrial legends Skinny Puppy, Front Line Assembly and Haujobb.
Commitment to Complications reflects Youth Code's time spent with various electronic alumni and scales up the aggressive notch left behind in their previous releases. Youth Code's introduction of the album starts on a reflective note but quickly changes gears into hyper drive BPM pacing with rhythmic complexity driven in with the track Transitions that can only be referenced as maniacal. Songs like Doghead and Shift of Dismay show the band as a frontrunner of definitive industrial anthems and critical songwriting skill. Another harbinger of Youth Code's dire shift into more strident terrain would be evident in the inclusion of Ben Falgoust (Goatwhore) and Todd Jones (Nails) as guest performers. The band's cohesive collaboration with producer Rhys Fulber is in full display, driving the band's aural trajectory into consuming and contentious industrial electronics.

After the great debut of some month ago, Spectral Rebel is ready to return with another massive release, this time signed by a further coming up artist in the techno scene: Manuel Di Martino. Known for his leaning for an old school rugged way of interpret productions and sets, Manuel shows us his acidest side in a one-sided 12inch vinyl, accompanied by the new young revelation of our times, the composer, arranger and pianist Raffaele Attanasio, making this second release, an absolute masterpiece.
'Raw Intentions' isn't only the release title, but the perfect concise description of the entire incision. The original one starts with a simply running nocturnal rhythm hard and chary at the same time but, after a while, give off, almost as a surprise, its real soul, an incessant flooding river of acid stabs, angry bites which rain in a fluctuating progress inducing any individual on the dance floor to deal with an huge sharp wall of sound waves. Raffaele Attanasio put his sign on with an unique and nonpareil version, combining both his distinctive mark of piano artist and his 'raw' soul represented by his alias X501. Almost heard several times in his live sets, this work is recognizable for the mathematically combination of overdrived harsh kicks crossed by acid stabs, all broked suddenly by a melodically solo piano touch which puts you in a short deep dream. Finally 'V3' closes the EP as a digital bonus original track that confirms the acid taste of the release with an hammering pulsing drum kit worthy of the oldest techno tunes.

The second release on Hail Blk, with deeper grittier atmospheres from new artist Llimbs. The four tracks presented here pace steadily with heavy beats immersed in dark industrial noise echoes and repetitive oscillating sounds with moments of brooding introspection.

Although the artist has spent 2015 honing the discographies of his other projects, Ravers' comes after a silent year for the D. Carbone moniker which in turn gives it all the more impact. The Class of '87' DJ and producer's first mini-album is dedicated to everyone interested in the ecstatic sounds of 90's rave culture.

On Ravers', D. Carbone distances himself from the functional perception that techno indicates a fairly narrow tempo range. Instead, he approaches it more freely by returning to earlier formulations. The speed is higher than on the artist's previous releases, varying from 137 to 160 BPM. So though the entire range here is faster than most current techno-tendencies, the scope is also wide. It is about pushing the envelope and rejecting limitations. The notion of rushing is central to Carbone who describes ideal techno as body music' - a powerfully energetic mantra-resembling medium for dancers to loose control to. Letting go of restraints is reflected in the tracks that have been jammed out free of structural rigidness. Meanwhile, sound-wise Ravers' is classic D. Carbone: Noisy and acidic industrial techno where every single sound in the mix is subject to heavy distortion.

At a tempo of 137 BPM, opener Jerk' is most in line with the artist's past releases using a 4/4 kick pattern, ravey hihats, 808 claps, 101 bass line, pulse synth as well as string pads that recall early Warp Records anthems. On following cut Orius', the tempo is jacked up to 152 BPM and the mini-album properly begins to unravel as a distinct entity for Carbone. Here, a bug-like acid line meets gabber-style kicks, metallic cymbals, intensity-heightening toms, a hoover' synth and noise pads. On Space Journey 1171' we travel through the infinite to the sound of a beeping space shuttle, trancey synths, grainy beats, guitar-reminiscent tremolo pads and a fast 303 acid line.
On the flipside's opener we are in the moment to the extent that we simply Mustacid'. The track evokes the early output of Den Haag's Bunker Records with gabber kicks, persistent snare and rimshot patterns, a full-on 303 bass, and noise pads of human screams and dissonant guitars. Hereafter, the producer continues his Hard Vision' in a similarly brutal manner, adding whiplash snares to a high-energy drum pattern, several acid lines and discordant synth pads. On closer ESX', the pace is taken down a bit on what sounds like a tense Detroit techno classic played through a distortion pedal, Hardcore kicks and toms blend with reverberated claps, rattling hihats, bell pads, a subtle 303 and an organ-like synth.

Though Carbone sticks to a familiar sound-pallet, the loosely structured tracks at a higher-than-usual pace make Ravers' a refreshing record. Where his previous slower releases expressed dystopian views, Ravers' has a cathartic feel - as if we've experienced mayhem and are now optimistically dancing among the ruins.

Diagonal pull a blinder with remixes of Russell Haswell by Autechre, DJ Stingray and Powell capping a golden year for the label - recently rated highly in Fact Magazine's labels-of-the-year 2015 list.

Juicing Haswell's dancefloor-generous album As Sure As Night Follows Day, the stellar cast of time-served usurpers and outsiders flip his n0!sy muzzle in their own image with deadly results.

Autechre's Conformity Version of Heavy Handed Sunset effectively dubs Russell into submission by way of water-boarding smothers and accentuated pressure points - precisely choking, kneading, kicking and distending the original like its some sorta Stretch Armstrong plaything.

Not to be outshone, Powell pays dues to his mentor with a cork-popping COV Megamix ov Hardwax Flashback littered with samples of Russell doing Russell for RBMA, making for his most DJ-tempered tools to date, whilst DJ Stingray puts a lid on it with hollow-skulled clank and darkside descent of Gas Attack in a grimacing Atropine Mix.

3TH keep on releasing techno with an eclectic vision, each track has its different shades and rhythmic approaches. Act 83 and 86 are both powerful tools that are lead by acidic repetitive patterns and distortions. Act 100 contains a raw and strong beat that travels through cosmic and "epic" soundscapes. As conclusion, Act 63 is characterized by emotional melancholic melodies and brain-dance music, accompanied by succession of rousing rhythmic evolutions.

A poet's reminder of a specific season.

Do you know what genre this is Do you know who's going to play this record Do you know at what time in which club If you knew, would it sound any different Would it make you feel any different Here's a thought: What if this release was made just for you What if you realise, as you put the needle to the groove, that this is YOUR music You can share it with your friends, and strangers will talk about it like it was theirs, but deep inside you'll know: this was made for yourself.

Support from:K1971! Berlin promotion from 28th of August 2015 www.k1971.com

* Tabvla Rasa is the second vinyl release for the new London based label Kapvt Mvndi Records, a Blackwater Label project about Techno.

* This Ep comes in a single sided vinyl on a 12', 45 r.p.m. with black labels, no inner sleeves, and a book with credits and artwork inside.

* Tabvla Rasa is a an experimental and post techno Ep based on the historical events of the Second World War. The first track CXIX is about the days of Bombs in London during the War. The second track CMXI is about the connection between the indian Swastica and the esoteric symbolism used by the Nazists in the same period.

* A1 track is a pure experimental dark track leading at 99 b.p.m. using a raw lead and synths in a repetitive and psychedelic loop . A2 track is a post techno track, more suitable for the dance floor. The Artist used the same musical and machines structure for both tracks, 99 b.p.m., same delay and reverb effects preset and same instruments.

Black country overlord Justin K Broadrick (Jesu, Godflesh) blesses Regis' Downwards fiefdom with two tracks and a tightly sprung rework by Surgeon. Downwards have really picked the foulest iterations of a grim set for vinyl release, inscribing the industrial-strength torque of Nothing Is Free - which sounds like early Kode 9 battered by Shapednoise - at 45rpm across the front face, and branding the knuckling 808 snares and distended electro bass blow out of Kontorted on its backside.
Surgeon's remix of the title tune ranks among his best in many years. Trace elements of the original are extruded thru modular kit and remodelled on a bouncing, swerving techno chassis recalling BMB and CUB classics, but streaked with sirens and vamped by a marching brass refrain that's just spoiling for war.
The release marks a long overdue overlap between Downwards' and Broadrick's interrelated industrial, noise and techno circles. Broadrick was the original drummer for Napalm Death on their Scum (1987) album, before forming the legendary Godflesh, and
carving out an oeuvre as one of the most feared and respected musicians to emerge from Birmingham and the UK ever since.

back with another album project, this time from American producer Christopher Ernst, aka L'estasi Dell'oro, who also records as Penalune and is co-founder of the Voodoo Down label. Before now, Ernst has proved himself to be adept at crafting deep and atmospheric, excellently ambient techno on a range of labels. Varying his tempos and textures, he does acid, raw stuff, tough beats and more industrial grooves. Across this new 8-track album, all this and more is explored in captivating fashion. This is an expressive and expansive modern techno album from L'estasi Dell'oro that is perfectly at home on the always interesting Field label.

Perc Trax is proud to announce 'Stowaway', the debut album from Ansome. A ten track collection of brutal UK electronics which marks the next significant step in a rapid rise that has seen him become a key member of Bas Mooy's Mord crew and play a constant run of hardware based live sets across Europe.

A Cornish ex-pat who now resides in south London, Kieran Whitefield is the man who puts the dark in Poldark, combining a warm persona with a deadly serious attitude to his music. Consistently changing his sound as new equipment and techniques are utilised in his studio the album mixes up the type of 5am club rippers he is known for with an exploration of more spacious and atmospheric tracks. 'Stowaway' will also be released on Perc Trax CD and download formats with a London launch party at the end of February to support its release.
DJ feedback so far::

Lucy (Stroboscopic Artefacts) 'Incredible work. Big support for Perc Trax.'
Dave Clarke (White Noise) 'Snake Eyes' works well for me.'
Clouds (Electric Deluxe) 'My Christ! 5'5.'
J. Tijn (Power Vacuum / WNCL) 'Big album, gonna batter this.'
Tommy Four Seven (47) ' Fantastically brutal. Blimey'
Adam X (Sonic Groove) 'Good shit. 'Snake Eyes' is my top choice to play out.'
2000 and One (100% Pure) 'Pounding stuff, thank you!'
Bintus (Power Vacuum) 'Sounding great, naturally! On a cursory flip through, 'Vyken' is my bomb of the lot. Thanks.'
Thomas Heckmann (AFU) 'Great kick-ass album by Ansome and playing 'Snake Eyes' and 'Blackwater' for some time now !!! Brutal and inspiring !'
Pinion (Perc Trax / Mord) 'Album is bad as hell. No surprise there. Ansome always delivers.'
Scalameriya (Perc Trax / Genesa) 'Powerful and useful tracks as usual. 'Snake Eyes' is my favourite. It actually sounds like it came from my own pantry, just a lot rougher aesthetically. Full support!'
Ontal (Shadow Story) 'Can't wait to hear the whole thing! 5/5'
Phil Kieran (PKR) 'Blackwater sounds hot.'

The first vinyl release by Ukrainian label Subself presents the compilation including both label residents and new artists. X EP includes four tracks made exclusively for this release.

It starts with DSCRD's track which perfectly blends experimentalism and techno traditions into nine-minutes-trip gets with a peak by acid bass and distorted modular chords. Vadim Griboedov continues journey with off-beat techno construction balancing on the border of minimalism and nihilism.

On the flipside Rasmus Hedlund present dubby side of Subself with his slowburning Extorter decorated with delays and glithes. The last but not least track of X EP belongs to Echologist, man which production always surpising and visionary. Explorer is not exception - it's mesmerise with the deepness and transparency at the same time.

Limited Red Vinyl Pressing!
Dolgener develops a new perspective to his body of work with Violenteer. The Ep as a whole brings a feeling reminiscent of rebellion and place without restraint from current musical norms.
Violenteer (Original mix) - The original mix comes to us in a raw, driving and distorted package. Dolgener plays on different soundscapes, creating a world within a world, and allowing somewhere for the violence to exist.
Violenteer (Mani Dee Introspective mix) - Manni Dee exerts a lovely piece which creates both tension and an unnerving feeling throughout the track through his articulate evolutions. This particularly somber rendition finds a home amidst the chaos.
Crusin' just above shut down (Original Mix) - The original brings a broken beat backbone with a heavy dose of noise and sounds of malfunctioning machinery. It is man's last effort before slipping into his unconscious mind.
Crusin' just above shut down (AnD remix) - AnD delivers their signature style of powerful, progressive and modular madness. The polyrhythmic sound sources coupled with heavy drums and percussion ensure a frenzy will ensue.
Early Support By:
Surgeon Forest People Speedy-J Krenzlin Perc Truss Tommy Four Seven Orphx Ancient Method Bas Mooy Brendon Moeller Myler Tomohiko Sagae Voidloss Octave Morgan Tomas Pinion ..