Techno News

Re-issue of A Thunder Orchestra's 'Shall I Do It', a haunting yet beautiful slice of hypnotic proto techno from the vaults of the rich eighties Belgian new beat / synth wave / EBM noir scene, originally recorded in 1985 and released on a handful of cassette tapes on Ladd-Frith records

Drone-based experiments (notably with Tony Conrad, extremely present on the album, and John Cale), and purely electronic compositions - a path (almost) nobody knew MacLise had explored. Miraculously salvaged by Gerald Malanga, these archives provided a new perspective on the artist's whole body of work and expanded considerably his artistic palette. And so we are now able to draw a whole record's worth from MacLise's early electronic music. Angus MacLise, born, March 4,1938 in Bridgeport, Connecticut, was a percussionist composer, poet, and calligrapher. He was a member of La Monte Young's Theater of Eternal Music, with John Cale, Tony Conrad, Marian Zazeela and sometimes Terry Riley. He contributed to the early Fluxus newspaper V Tre, edited by George
Brecht and George Maciunas, and was also an early member of The Velvet Underground, having been brought into the group by flatmate John Cale when they were living at 56 Ludlow Street in Manhattan. MacLise played bongos and hand drums during 1965 with the first incarnation of the Velvet Underground. Although the band regularly extemporised soundtracks to underground films during this era (The Invasion of Thunderbolt Pagoda by Ira Cohen, Chumlum by Ron RiceŠ), MacLise never officially recorded with them. Later in the 1960s, Angus and his wife Hetty traveled around between Vancouver, Paris, Greece and India, finally settling in Nepal. They also
had a son, Ossian Kennard MacLise, who was recognized by Rangjung Rigpe Dorje, the 16th Karmapa, as a reincarnation of a Tibetan saint, or tulku, and at age four became a Buddhist monk. MacLise died of hypoglycemia and pulmonary tuberculosis in Kathmandu
in 1979, aged 41. He recorded a vast amount of music that went largely unreleased until 1999. These recordings, produced between the mid-'60s and the late-'70s, consist of tribal trance workouts, spoken word, poetry, drones and electronics, as well as many collaborations with his wife Hetty. In 2008, Hetty MacLise bequeathed a collection of her husband's tapes to the Yale Collection of
American Literature.

Cassette of Sandra Electronics sessions. These are recordings based on their live sets as well as the first recordings of Sandra Electronics that were made in Birmingham during the late 1980's and 90s. The A side of the tape features reworked rehearsal takes of tracks which first appeared on the early Downwards 7"s and in 2011 were released as part of the White Savage Dance EP. They also include two versions of Her Needs, which we had released under the Sandra Plays Electronics pseudonym in March, 2013. The B side of the tape contains the original recordings from those Downwards 7"s, all made in Birmingham during the late 1980's and 90s. For the first time ever, we present to you the quintessential Sandra Electronics collection of rare outtakes and early recordings.

Andy Stott returns with his first new album since 2012's 'Luxury Problems', no.55 in Pitchfork's 'best albums of the decade so far'

- It also featured high in numerous year-end charts in 2012; including The Wire, Resident Advisor, Pitchfork, The Quietus, Tiny Mixtapes,

PopMatters, XLR8R and more

- Includes vocal contributions from Alison Skidmore on six tracks

- The album straddles analogue club music and vocal pop songs - somewhere between Ron Hardy, Prefab Sprout, Dome, Actress, Cocteau Twins and Arthur Russell

- Mastered and cut by Matt Colton at Alchemy 'Faith In Strangers' was written and produced between January 2013 and June 2014, and was edited and sequenced in late July this year. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it's a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener 'Time Away' featuring Euphonium played by Kim Holly Thorpe and last track 'Missing' a contribution by Stott's occasional vocal collaborator Alison Skidmore who also appeared on 2012's 'Luxury Problems'.. Between these two points 'Faith In Strangers' heads off from the sparse and infected 'Violence' to the broken, downcast pop of 'On Oath' and the motorik, driving melancholy of 'Science & Industry' - three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with 'No Surrender'- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while 'How It Was' refracts sweaty Warehouse signatures and 'Damage' finds the sweet spot between RZA's classic 'Ghost Dog' and Terror Danjah at his most brutal. 'Faith in Strangers' is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott's mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott's career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light.

From Jonas R

After three years, Ascion and D.Carbone return with "Substructures", their most experimental release to date on their label 3TH.
The A-side of this record holds two droney offbeat tracks, "RAM Expedients" and "Lo-fi Fields", combining a rare/abstract and genuine mix of Middle-Eastern electronics, cyberpunk and UK warehouse techno. The B-side contains the tracks that are responsible for the nomenclature of this release: "Substructures one/two". Being more oriented to genres such as IDM and rave techno, they are characterized by powerful beats and cutting edge ambients and vocals. Both tracks have been recorded during one of their live performances in London 2013.

Ekman once gain keeping the Dutch west coast spirit alive with 4 dramatic and haunting acid voodoo tracks certain to draw a new generation to the beauty of the dark side.

The Death of Rave is proud to host the initiation of Black Mecha with AA, their sci-fi vision of heavy electronics strongly informed by the outer limits of black metal and a cryptic, esoteric weltanschuuang.Official communiqué from the Grand Lodge of Internal Masonry: Black Mecha AA provides fragmented metaphoric sci-fi audio conceptualization based around some of the formative ideology developed by the Grand Lodge of Internal Masonry. With centralized focus on the deterrence and defence technique aspects of Internal Masonry, namely, Black Ray and its resulting Architecture Antithesis, or AA, mental effect, the six tracks create a realm conducive to execution of thought rumination, and an embankment for sharp inner pathways.' For us, Black Mecha does not exist safely within any pre-defined idiom. It is by nature a noumenal gesture in the void, projecting uncharted escape beyond staid, putative perceptions of genre.Fascinating for its sense of discipline and focus, Black Mecha AA is poised in the balance between meditative hypostasis and raging yet controlled emotion, characterised in the bellicose momentum of Starship Aspicio or the strobing, stately majesty of Altruego, and to cataclysmic impact with the eviscerated electronics of Black Ray. But make no mistake: it's not showboating industrial noise or melodramatic angst, the sense of control amidst panic and dread is palpable and compelling in a way hardly experienced with such elemental force.For listeners of a steeled disposition and open mind there is a logic and ingenuity at play in this record which begs the rarest, private consideration.But overall - enjoy this music in your own way, because that is the only way of Black Mecha!

Giorgio Gigli achieves his debut album after a personal path grown with his work on Zooloft Records. In the same way his dj sets reflect the spirit of that evolution. He explores sophisticated ambient layers as much as obsessive and hypnotic techno landscapes. The Right Place Where Not To Be' is the title of this first full-length sonic movie', a work emerging from the depth of his soul that filters, in a proper way, every musical input he developed over the years. A scenario where human and animal life-form perished and only plants and minerals survived. Giorgio performs that concept writing an ultra-detailed soundtrack, using rich textures that hide secret acoustics, nhanced by alienating atmosphere that captivate the listener. The album is focused on obsessive rhythmics cut on low frequency, a persistent motion, a stable tremor, world exclaiming its life-forms in so far as details the missing ones. Sky is darkened by dub clouds and stratified sonics that electrify space around. Blooming sensations that cover a wide spectrum, alternating feverish tension to lights of trust. Confines are dejected, techno meets ambient, throwing up an amniotic fluid which is immersed our unconscious. A sonic bubble from a faraway era, a timeless atmosphere that describes a vision that seems to answer to most important question: why Giorgio brilliantly manages the hard task of creating an album that describes in a cinematic manner a surreal concept with no loss of tension. LP is enhanced by a stylish Triple Gatefold with evocative artwork that expresses Giorgio's thoughts. A sequence of mountains dominated by clouds of a clear sky, depths of flowers, the tinged memory of a wonderful past. Photography by Marcello and Alessandro Gianvenuti was created with B/N poses from an old Hasselblad, somewhere in the Dolomites, and enhanced by watercolour-painted textures at a later stage. Whole graphical project is curated by Studio Lord Z.

Rabit's Halycon Veil label swerves left with a freakish 2nd release coming from the Korean-born, Danish-raised Why Be - a member of DJ Hvad's Syg Nok squad, Janus regular and contributor of Total Freedom's 'Blasting Voices' compilation.Equal measures grime, bumpy techno and internet-world electronics tot up to a frictional but fluid batch tripping across imagined 'floor-spaces and the stranger black holes between their cracks.'Heroin Hat' crosses wires between ersatz Afro melodies and sublow techno with the playful dexterity of Physical Therapy whereas the massive blackened mass of 'Whalin (Kyselina OST)' proves an impressive aptitude for beat-less, abstract sound design on a majestic, show-stopping scale. Back to the 'floor on the B-side, he glances askew at ballroom house from the midst of a gif-like loop vortex with 'Deeq' and its b*tch-slapping, c*nty counterpart 'Late (Laser Ha)' throwing down limb-synched edits for the voguers.Very safe to say: if you're into Physical Therapy, Total Freedom or Rabit - this 12" is a strong look.

Kamixlo lands on PAN and Visionist's newly relaunched imprint CODES with his debut EP, 'Demonico.'
A Brixton- based producer with Chilean blood, Kamixlo is a key member of South London's roaming Endless party, now being singled out as an incubator for up-and-coming talent.
Following an appearance on collaborator Blaze Kidd's 'Exclusivo' mixtape, 'Demonico' is a stark, raw, and militant opening statement. From the satanic drones of opener Otra Noche,' Kamixlo's club-forward approach combines Latin influences of reggaeton and bachata with punishing crunch and spat percussion. Brash, anthemic, and primed for club play, this year has brought Paleta' into heavy rotation in London's underground scene. Splxcity' sweeps distortion's outer bounds, and in Lariat,' hints of melody provide brief cover from a hailstorm of ballistic vocals before the whole track dissolves into oil.Having just delivered his inaugural LP 'Safe' on PAN, Visionist re-grids Lariat' with signature cut-and-paste techniques and glacial synths. The EP is mastered by Matt Colton at Alchemy, and features artwork by PWR Studio & Bill Kouligas with additional art by Daniel Swan.

cory arcane found her comfort zone in a constant state of crisis, and her liberation through love, sensuality, and high-speed internet access. as some might recall, she used to struggle with her own decay, navigating an intricate web of bureaucracy, endless social-media scrolling, 24-hour news channel feeds and marketed strategies of seduction. her intense and continuous obsession for surf, breakdancing and cat videos might have saved her from a silent decline, but it would be her first attempts at integrating a professional ballet company that provided the initial spark. her unorthodox dance movements were often considered shocking, transgressive, and barely legal; and even though some recognised her genuine talent, it was clear she would never make it into this structure. this is when she started her slow drift towards the outer limits of society, in search of the way to achieve the conditions for absolute freedom. her emancipation was surely marked by different forms of excess: the inappropriate use of fireworks, the consumption of large quantities of alcohol and controlled substances, as well as the occasional blasts of kitchen appliances. she bypassed the gender war and became an expert in advertising sabotage. soon cory would give academic courses on the true liberation of the mind, or, in her own words, the apotheosis of senses. lately, she could be seen squatting in the outskirts of different giant metropolises, embracing the mayhem, contemplating the crumbling of a system. the sound of the city, mixed with the music on her headphones, would weave complex rhythms and futuristic textures into a beautifully coloured, pixellated surface. looking out onto this fabulous chaos, she smiled.

Tresor Records is fortunate enough to be sitting on a catalogue of past releases that no other label in electronic music would turn down.

Three of the nest in this collection were albums contributed by Surgeon,
Basictonalvocabulary', Balance' and Force + Form' all originally came
out on the Berlin institution between 1997 and 1999.

Surgeon's inimitable combination of Detroit techno and post-industrial sounds emanating from his British homeland found its fullest expression in these masterful trio of releases on Tresor.

The Basictonal-remake 12' accompanied Surgeon's rst Tresor album in 1997, with additional Versions as well as a remix by long-time Birmingham collaborator Mick Harris.

As Sure As Night Follows Day is Russell Haswell's landmark second album for London's Diagonal Records. Consolidating a quarter-century at the coal face of extreme computer music, techno and death metal in 19 tracks and 49 minutes, it's Haswell's most coherent yet varied burst of activity to date — zigzagging from improvised n0!se outbursts and asphyxiated R&B to a brace of thundering acid bullets that positively froth for the 'floor.The album was extracted over a fast-working period in late 2014, and is best perceived as a sort of fractured regression to his formative influences: you can hear the picnoleptic recollections of grindcore shows in the Black Country, the refracted shades of mega-raves at Coventry's Eclipse, the conflating toxic texture-memories of early Japanese noise, and the incandescent stomp of Mills and Hood in that early 90s phase.Fortunately for the ravers, this album includes some of Haswell's most direct dance floor attacks to date. 'Hardwax Flashback', for instance, finds him in pure tekno panik mode — a four-to-the-floor wrecking ball groove that someone, somewhere, may even be able to mix. 'Gas Attack' distils his penchant for all things Belgium into a vicious strain of New Beat lactic acid. Haswell then doffs his cap to Detroit electro legends Drecxiya on 'Underwater Electronic Struggle' — a story goes that he once thrashed a jet-ski all over the Mediterranean while listening to 'Wave Jumper' in his 'phones — before he does the salty freestyle electro flex 'ting on 'Industry Knowledge (For Oscar)' while reminding his trusty apprentice, Powell, that he still has a lot to learn. In between these 'floor-flexers, we find more freakish disturbances and intrusive drum-box improvisations: the modular mind-floss of 'Rave Splurge Noise' or 'Noise Rave', for instance, or the self-explanatory 'Improvisation #1'. 'In The AirToday' investigates warehouse-ready electro-acoustic percussion, while the chaotic clusters of 'Interlude' swarm and invade your senses with psychoacoustic incision. This is Diagonal and Russell at their most f**ked up and fizzy, and an important reminder of the artist's stream-of consciousness genius — and the pressing need for more chaos and unpredictability in electronic music today.

A sort of Cabaret Voltaire for the iPhone age, DROOIDS are a collective of three multimedia artists who produce electronic music using improvisational, often anarchic methods. Utilizing a hodgepodge of gear both old and new, and not-wholly-quantized, they create a collage of sounds that verges on chaos before slipping back into a dark yet weirdly club-oriented beat.


Their live shows usually feature multiple guest collaborators, costumes, sculptural props and performative antics. For their debut release on LSE we tried to capture the spirit of these shows and recorded over 11 hours of DROOIDS improvising in the studio of the course of one week. Those 11 sprawling hours then got edited down to these 4 snapshots, mastered and pressed in a limited edition of 200 (40 with original gelatin silver prints) for our 6th vinyl release.

»LA DEMEURE, il y a péril en la demeure« is the opening to a five-part complex of works by artist grischa lichtenberger. »LA DEMEURE« - the residence - could be outlined as intimacy, a symbol of isolation and its possibilities. the joy of being isolated and having the change to work, explore and most importantly, experiment free from economic, temporal or social restraints is the center of attention of »LA DEMEURE, il y a péril en la demeure«.the single tracks on »LA DEMEURE, il y a péril en la demeure« and their components are constantly broken, disassembled and reassembled again. some parts may remind of hip hop and breakbeat, others may evoke associations to a broken music box, something mechanical that is not working as it should. in his very own way, grischa lichtenberger is examining limits, new experiences and unfulfilling expectations. this unfilteredness and rawness, the lack of a target group the music is made for, is what is fascinating about this record. »LA DEMEURE, il y a péril en la demeure« thus becomes a luxurious-kafkaesque collection of materials, an uncensored archive of a seeker.»LA DEMEURE, il y a péril en la demeure« will be released on CD and accompanied by three vinyl EPs that will put the experiment in relation to the public. the five-part cycle will be completed with a second album whose focus will be on »IL Y A PÉRIL EN LA DEMEURE« - danger in delay.

Repress!

As Sure As Night Follows Day is Russell Haswell's landmark second album for London's Diagonal Records. Consolidating a quarter-century at the coal face of extreme computer music, techno and death metal in 19 tracks and 49 minutes, it's Haswell's most coherent yet varied burst of activity to date — zigzagging from improvised n0!se outbursts and asphyxiated R&B to a brace of thundering acid bullets that positively froth for the 'floor.

The album was extracted over a fast-working period in late 2014, and is best perceived as a sort
of fractured regression to his formative influences: you can hear the picnoleptic recollections of
grindcore shows in the Black Country, the refracted shades of mega-raves at Coventry's Eclipse,
the conflating toxic texture-memories of early Japanese noise, and the incandescent stomp of
Mills and Hood in that early 90s phase.

Fortunately for the ravers, this album includes some of Haswell's most direct dance floor attacks to
date. 'Hardwax Flashback', for instance, finds him in pure tekno panik mode — a four-to-the-floor
wrecking ball groove that someone, somewhere, may even be able to mix. 'Gas Attack' distils his
penchant for all things Belgium into a vicious strain of New Beat lactic acid. Haswell then doffs his
cap to Detroit electro legends Drecxiya on 'Underwater Electronic

Struggle' — a story goes that he once thrashed a jet-ski all over the Mediterranean while listening
to 'Wave Jumper' in his 'phones — before he does the salty freestyle electro flex 'ting on 'Industry
Knowledge (For Oscar)' while reminding his trusty apprentice, Powell, that he still has a lot to
learn. In between these 'floor-flexers, we find more freakish disturbances and intrusive drum-box
improvisations: the modular mind-floss of 'Rave Splurge Noise' or 'Noise Rave', for instance, or the
self-explanatory 'Improvisation #1'. 'In The Air

Today' investigates warehouse-ready electro-acoustic percussion, while the chaotic clusters
of 'Interlude' swarm and invade your senses with psychoacoustic incision. This is Diagonal and
Russell at their most f**ked up and fizzy, and an important reminder of the artist's stream-of-
consciousness genius — and the pressing need for more chaos and unpredictability in electronic
music today.

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 mixdown and additional production in spring 2015 by Krikor Kouchian and Ron Morelli in Paris, Hospital Productions is proud to offer A Gathering Together.

Recorded at EMS Elektronmusikstudion 19.03.2015 / used = ALM, Tiptop Audio, SERGE...

Crushing celestial tech-noise objects from Black Rain (a.k.a. Ike Yard's Stuart Argabright) with Shapednoise and Demdike Stare's Miles Whittaker. 'Apophis', so named after asteroid 99942 which poses an uncertain threat to humanity, was written and realised over summer 2014 and supposes four cuts of destructive electronics describing a potential, eschatalogical event and its aftermath in grim and unflinching detail. Black Rain and Shapednoise are clearly steeled and ready for what may come, from 'Metal Home's' premonition of rubbling noise forces and slivers of electronic salvation, to the thunderous, scudding speedcore mass of 'Autonomous Lethality', or the double-timed serpentine lash of 'Interceptor' proving they've come to terms with our potential extinguished existence. Likewise, we've always imagined Miles came from some parallel cyberpunk dimension just outside Burnley anyway, so his Ramen reshape of the latter makes sense, hammering away its angles until it exudes sludgy, effluent hardcore techno tropes. Definitely one for Mad Max characters, techno freaks and noise creeps!

Beneath's Mistry label draw the best out of Batu in this quaking two-headed beast. With each release he seems to step further into his own sound, whilst also remaining true to a shared aesthetic/tempo with peers such as Beneath, Pinch, Lurka, and most recently, L.Sae on his home-brewed Timedance label. For this headstrong mission he comes with the noisy, technoid mutation of 'Dakalb' up top, alloying radioactive subs with rusted snare crack and floor-scanning sirens to murder the dance. Backa plate, 'Collate' runs industrialized roto-toms and scooping bass with the ruddiest junglist swagger crowbarred into a 130bpm template. They're both a big look those that know.

FF002 picks up where FF001 left off, delivering raw techno inspired by the cold and dark surroundings of Copenhagen.

Titles of this album, i mean titles names are already a good experience

Excellent experimental little indutrial techno perl... Needed for more sound surprises in parties

Samuel Kerridge joins Blueprint Superb, dark 4 tracker

* The first self titled album from emptyset is reissued on vinyl. Released in 2009 the material formed the initial departure within Emptyset's ongoing exploration of time, structure and analogue technology.
* The album highlights the projects development and the foundation of their studio based production process, forming the first part of a tryptic spanning across Demiurge, released in 2010 with Subtext and the 2013 raster-noton album Recur.
* The eponymous debut creates the first point within this narrative, initiating a dialogue between full frequency audio, noise and the emergent properties of sound, and the starting point for their contained sonic approach.

Mastered and cut by Rashad Becker at D&M, pressed on 140g 2xLP or CD
Features photography by Kim Thue and artwork by Bill Kouligas.
Follow-up to 2014's 'The Hollow Organ'
Inspired by loop-based industrial music, dub techno, and balearic disco

Where his previous effort, 2014's 'The Hollow Organ,' dealt in dense, distressed sonics, 'Olympic Mess' is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.

'It's about exploring a perverse desire to pull the rug from under yourself, and the struggle to achieve a healthy equilibrium between one's personal and artistic lives,' Younger says. 'Dealing with the problematic consequences of pushing your own limits, forming and dissolving relationships, transient lifestyles, physical and mental exhaustion, excess, and other kinds of personal chaos'.

Crafted using an array of heavily processed samples, found sound and electroacoustics,
personal conflict manifests in 'I Exist In A Fog' and 'Outerzone 2015,' where visceral noise
disintegrates into veiled, ambient strata. The disquieting crescendos of 'The Evening In Reverse' and 'Fluid Cloak' offer no such relief, while the title track and 'Don't Lick The Jacket' are mineral, multilayered abstractions twisting around a brittle pulse.

Following a period of extensive touring throughout the States and Europe, which included 20 dates in support of Danish punk group Iceage, 'Olympic Mess' was recorded in London, New York and Berlin by Sean Ragon, Luke Younger and John Hannon.

We live in dangerous times. We are blinded by control vectors that separate us from reality. And The Black Dog returns with a viral antidote: an album of de-programming material which they've called Nether/Neither. This record continues the work they started with Further Vexations and Radio Scarecrow. Burroughs was right: we are now living in a world that is nothing short of a total information war. We are neither one thing nor another, endlessly on the fence in the face of an onslaught of disinformation. Non-linear hypermedia systems are openly used to control us, their operation being totally exposed, mocking our impotence, yet complete in their power. We are all proles now, all are expected to maintain a mental state of Neither/Neither, of uncertainty and inaction. Even in a world where anyone can be an instant expert on any subject in a single click, we find that all our knowledge is a mere replay of someone else's script.We are surrounded and occupied by systems of platitude generation that are empty and self-referential. All is surface and all is hollow. From the Tories' election propaganda to David Icke, they're all the same, all meaning filtered to nothing by a lack of substance, science and humanity. Falsehood becomes reason, no
matter how ridiculous the proposition. They stand for nothing so they can have no questions to answer.False prophets and the modern day snake oil salesmen parade their viral vampirism, grasping for our time, money and headspace. Even our ridicule becomes fuel for their trade as they turn ignorance and
psychopathic exploitation into received wisdom and public opinion. Ask any sideshow psychic, repeat, pure Barnum bunkum enough times and you can seize the psychology of the masses. Rumours become truth then they become action and policy that in the cold light of the day make no-sense at all. No one's sure where they heard it but they have. The spectral offer of change, which actually sustains the stasis of confusion. They spin us on a ball of confusion we live on continues to turn and as long as they have us in a state of Neither/Neither they will always maintain control. Fight Back!Neither/Neither shows the world The Black Dog is reflecting.

"Minds" is all about electronic music soul and the feelings it catches deep into us.

Warm thanks to Valentino, Stephen, Paul, Riccardo, Bryan, Surachai, Derrick & Nina, Cyrus, Moe, Thomas, Eric, Sylvain and Bobby for sharing their art with us. It is a real pleasure and pride to have this project see the light.

collecting orders for another repress!
A year after their much-praised debut album STRGTHS, Avian's cryptic Swedish duo SHXCXCHCXSH are ready to present their second album, Linear S Decoded, this August. From the elegiac opener Entering The S-Cloud, the intensity of tracks such as Elocution and Rudimental Retreat, to the disorienting beauty of Wading Guise and aptly-titled closer Monolithic Conclusion, the LP deftly broadens the scope of SHXCXCHCXSH's singular aesthetic.

Keeping their mystic aura has always been important to SHXCXCHCXSH - so important they didn't want to take part in what they deemed 'the language game' until now. Their previous strict use of fragmented track titles illustrated an ideal of communication purely through music, to service the focus on sound via complete abstraction. Breaking the habit with Linear S Decoded doesn't necessarily indicate a complete break with their approach, but an adjustment to the direction they have travelled since they first emerged two years ago.

As Resident Advisor identified in a perceptive review of the previous LP, among SHXCXCHCXSH's key strengths is the imbuing of their productions with a narrative sense, a sonic progression that moves beyond techno's standard repetition - it's an element of their work that's heightened further on Linear S Decoded, pulling focus from the more grinding, brutalist elements of their distinct sound to reveal the more melodic, almost optimistic, elements that had previously remained in the shadows of the productions until now.

The track titles themselves are evocative about the new record whilst revealing few specifics: no less intriguing than the clustered consonants of the prior release titles, hinting at deeper underlying narratives at play, possibly historically informed, or a fiction of the duo's own making. Either way, definitive answers will not be forthcoming: the mysteries that lay beneath SHXCXCHCXSH's approach to music making have long been an intrinsic part of their appeal. Linear S Decoded presents the opportunity for newcomers and those already au fait with the duo to employ their deciphering abilities, whilst simultaneously offering an expanded and ever more richly detailed landscape to traverse...

Visionist resets his Lost Codes imprint as a new PAN sublabel, Codes, with a killer, collaborative grime/techno collage by Acre and Filter Dread. Marking the first time either producer has collaborated properly, they prove a vital pairing in equilibrium between industrial techno engines, body-scanning UK bass tones and gritty, diffuse urban-gothic atmosphere. Upfront, 'Drumz34' burrows in with viral 8-bit squiggle and squashed subs before 'Flash Speed' arches up a skeletal, mutant 8-bar onslaught and 'Trashed' bruks out the toms on a swooping halfstep techno flex.
Down below, they come with a fiercely darkside droog raver called 'Life', whipping reversed drums, bass and mentasms with very canny Wendy Carlos vibe, whilst 'Unknown' deals in guttural, monotone functions, and 'Blood Artist' pulls coarse lo-fi drums and electronics into sharp focus on an elegantly wasted sino-garage skip.

Instynkt - highly anticipated record released by highly unanticipated duo of two labels Bocian (whose repertoire stretches from freeform noise to improvised jazz) and Recognition (known for state-of-the-art modern techno sound). Four new tracks by Jacek Sienkiewicz appear both as essence and antithesis of artist's earlier work, instead confronting listener with hardly categorisable and puzzling form. You can still manage to hear echoes of electronic music masters (from Autechre to Xenakis) in this material, but Instynkt functions as an autonomous entity, or a sound event provoking questions rather than attempting to answer them. This proposal, very distinct and floating beyond today's tendencies, will undoubtedly worry pessimists shedding their tears over end-of-all-aesthetics and music losing its magical aura. It is also quite likely to awaken a need for further exploration in all listeners open enough - and daring enough.

London-based artist Simon Pomery makes an emphatic return to Diagonal with the Taiko fire of 'Chicks', the brutal percussive workout of 'Badgering' and a hardcore remix from Luke Younger — a.k.a. HELM. On this long-gestated follow-up to 2013's eponymous EP, the Blood Music project continues to rage, syncing Taiko-inspired drumming patterns with vicious metal guitar dissonance and contact mic haptics.'Chicks' runs at an over-stepping, febrile EBM heart rate, pelting modular palpitations made alongside Russell Haswell against walls of guitar feedback-as-melody, coming up like an oikish Keiji Haino having illicit craic with his axe. Although this is leather and denim, steel and cocaine — late '80s Belgian muscle-tech meets Swans with contact mics — the track retains a sense of humour: according to Pomery, it's about little, fluffy baby chicks. Hmmm. The shorter drone piece 'Sharking' sees Pomery forging an underwater world from junk and the rabid tones of a homemade contact mic on a drum. In 'Badgering', he reengages the 'floor by improvising squabbling electronics around a rowdy drum tattoo and bugged out vocal glitch. Corrupted memories of Endless-era Pan Sonic and strobing Bunker acid parties regress the listener/dancer into a dazed, primitive state — bruxist ecstasy enshrined in blood around the mouth.For the remix, Luke Younger (Helm) reimagines the techno cravings of the original, using electro-acoustic phasing to bring forward the original Taiko inspiration, and close off proceedings in devastating fashion.'Chicks/Badgering' announces the re-arrival of Blood Music. And it's febrile stuff.

Centaure is artist Franck Vigroux's newest solo studio effort, following a period of both live and studio collaborations (with artists such as Ben Miller, video artist Antoine Schmitt as Tempest, and Mika Vainio) and music specifically written for multimedia performances. As the inaugural release for Cosmo Rhythmatic, the 12" sees Vigroux indulging in his taste for dynamic intensity, pairing abstract freenoise of the heaviest sort with a taste for dense electronics beats, in order to explore new structural possibilities beyond industrial, techno and concrete. From the dramatic slow drill of "2024" to the fragmented techno incursions of "Vesuve" and the textural shapeshifts of "Centaure". Given his familiarity with such sonic matter, label boss Shapednoise's remix of the title track comes as a further step in the same journey."

Alongside fellow members of Berlin's Janus collective, recently behind nights at
Berghain and Corsica Studios, M.E.S.H. is known for his futurist approach to club
dynamics and production.

On Piteous Gate, tightly gridded and sculpted sound juts up against loose-wristed
improvisation, automated processes, and collage. Standard club syncopation is twisted by sliding tempos, cut and paste time signatures, and indeterminate pacing. Its sound design and compositions are ornate, even courtly, with neo- feudal moods offset by the recurrence of hydraulic hiss and flanger.

A synthetic fuel injector revs opener 'Piteous Gate' to life. Drawing from action- scifi film trailers and the sound design of festival trance, its hardcore synthlines shatter into 'Optimate'—stately, spatial, and whiplash-luxurious, with meandering cybernetic drumming. 'Thorium' sends a slow-motion camera through a melting test reactor: all burnt VSTs and synthetic theorbo and loose drums.

'The Black Pill' smears high-end renaissance sample libraries through arcs of static. In 'Epithet,' temple sewer atmospheres are ruptured by 'Scythians'-style cut-up drums. 'Jester's Visage' indulges a minute-long baroque guitar improv, and territorial youths air their beef in 'Kritikal & X.' Closing out the album, 'Methy Imbiß' is a machinic rhythm track, and 'Azov Seepage' mingles birdlike granular noises with rusted steel clanging.

The LP was recorded in Berlin in winter 2015, mastered and cut by Rashad Becker
at D&M, and pressed on 140g LP and CD.

Crafted between the years 2000-2008, 'Immerse' is a massive selection of some of the finest deep pulsating dark ambient tracks that we have ever heard. Together they create a journey through depth and darkness with a gripping emotional hook that almost stand unprecedented.


This is how Periskop described the advent of these enthralling pieces of music in a recent conversation:
'Immerse' is partly the subtle deep repetitive pulsations of the early dub techno scene and partly the dark ritual emotional/cathartic approach of the industrial soundscape movement of the 80s and 90s. I was compelled to combine the two approaches in a personal space or sound to overcome states of alienation and emptiness. The layer-on-layer compositions are a result of more or less meditative explorations of these states in symbiosis with the music making equipment. Some of the sounds are field recordings and vocals/voices/breathing and some of them are synths and sampled drum machines, but I have tried to blur the line between the two types of sources to avoid too many references to existing music or phenomena from normal human experiences.'


Antonio Vazquez: "The whole album is a dream!! Really fine sounds which makes you float in a calm and peaceful trip through the vacuum."
BLNDR: "Perfect release."
Cio D'Or: "Some amazing components fpr special moments!"
Deepbass: "Great sounds, feeling it"
Elle: "For me and for now probably the best listening of 2015."
Eomac: "Some lovely stuff on here. Thanks"
Eric Cloutier: "fantastic ambient excursions. really nice stuff."
Giorgio Gigli: "Immerse is AMAZING!!! I'll play and chart for sure, can't wait to play the vinyls Thanks for your music ,)"
Jonas Kopp: "it deserves a careful listen , sounds great. thanks."
Luigi Tozzi: "Probably one of the deepest work I listened lately. Totally in love with all the tracks, very hard to find a fav!"
Mattias Fridell: "Happy to see this massive project launched. Well done fellas"
Modvs: "Impossible to pick a favourite. 10/10"
Oscar Mulero: "Loved it. thx!"
Rasmus Hedlund: "Very submerged sounds, excellent trip!"
Samuli Kemppi: "Quite amazing sounds. Really like it. Thanks!"
Shaded Explorer: "This is one of the most beautiful and immersive music I ever heard, totally love it and into it!"
Skymn: "This album is going to be one of the best in 2015. No doubts. You have my full suport!"
Stephanice Sykes: "Very profound journey!"
Takaaki Itoh: "full of deepness. will play for first part of dj set. full support."

Barcelona's Exoteric Continent grounds his first ever vinyl release following cassette drops for Opal Tapes and Second Sleep. Exploring ascetic techno and electronic noise, this vinyl edition combines both his 'Referèndum' tape volumes on one fine slab. Something of a relative outsider in the balearic climes of his home city, Arnau Sala Saez pushes an intense, probing sound, both with his own music and via closely associated cohorts N.M.O., or Americans, Eric Frye, and Helmer, who've all released on his brilliant Anòmia label. With 'Referèndum' Exoteric Continent draws us into the awkward spaces and styles around techno and noise's shifting, jagged borders, using drums, percussion, magnetic tape and synthesisers to outline nine atonal and enigmatic silhouettes. Ranging from the creeping slow techno misshape of 'Percentages' thru the sagging chamber feeling of 'Posicions', to the Soisong-like gamelan tones of 'Transició', and over to the kinky industrial swing instincts of 'La Mirada Llarga', he mixes rugged structures with stranger, keening electronics in the insectoid logic of 'Autoritat', and the rubbled electro-acoustic texturhythm of 'Agrupació Civil' to forge a fractious, unstable brace of noise techno that sits somewhere between classic Pan Sonic and his Hospital lablemate Alberich.
Black LP

Kuedo and Joe Shakespeare's hugely promising Knives label debut the hyper-lucid constructs of J.G. Biberkopf with 'Ecologies', housed in suitably striking artwork by Joe Hamilton.

Please note this is not a new studio album but a compilation of previously released Regis productions and remixes for BEB, plus three previously unreleased cuts.