Techno News

This is the 13th release on RIOT Radio Records, an independent techno label based in Scotland.

Mickey Nox is a techno enthusiast, label owner, DJ and producer from Melbourne, Australia. His impressively unique style and attitude towards his constantly evolving productions and DJ sets is dark, menacing, and always maniacally exhilarating as he becomes progressively more entangled within his heavy hitting hardware.

This 2 x 12” vinyl has five original tracks and three insane remixes from a trinity of head bangers. Not only are all the original tracks on this release techno missiles solely intent on becoming club destroyers, but the additional remixes from Ayarcana, Myler and Ansome devilishly turn it into a weapon of true annihilation.

WARNING: THESE ‘FUCKING HAMMERS’ ARE INSTRUMENTS OF ASSAULT TO POUND YOUR SUBJECTS INTO SUBMISSION.

repressed !

Strange anomalies are scattered throughout the world. Things that could not possibly belong to the time period or place in which they were found. These so called out of place artifacts baffle historians & archaeologists up until today and have inspired producers Vril & Rødhåd to write a collaborative concept album.

As a result the two producers got together in the studio with the idea to subvert the expectations of their previous work. They experimented over two sessions in 2018 and 2019, resulting in a record showcasing a different palette of sounds and tempo.
The album is suited for deep listening and exploring aforementioned concepts or introspection in general. A mystic tone is set from the start, and grips the listener throughout the whole run time. Each track encapsulates this notion in its own unique form, blending sonic ambience and complex beats that reaches spectral heights.
Both producer's styles shine individually, but the collaboration achieves something greater than the sum of its parts.

In the spring of 2019 Void and Tucker convened at Void’s Demna Studio to record two days of modular improvisations. Using their individualised modular cases they connected the two configurations to create one whole system where they could integrate and meld sequences, beats, drones and samples. Key to the duo’s process was bringing the organic textures of guitar, cello and voice together with machine rhythms, creating a balance between circuitry and the human body.

The duo edited down the raw recordings into their crucial moments, expanding upon the improvisations into eight cohesive pieces.
Sleep Nameless Fear carves out a world of heavy percussive patterns, monolithic drones, disembodied voices and noise frequency manipulation into one detailed vortex.

7x12" LP. Herdersmat - Morderstwo - Rotterdam.

**Silver and black vinyl may or may not have audio distortion intermittently during playback, depending on your system. This was discovered after the press had been completed and packed, so we have included a red repress without audio issues. All purchases will ship with both silver and red copies.

Purple+Gold Mixed Vinyl

Primal Code's fifth record on Hypnus introduces a refreshing evolution of their contemporary fusion of electronic music genres.

Early support from Brando Lupi, Abstract Division, Giorgio Gigli, Samuli Kemppi, Takaaki Itoh and Ness to name a few.

Brand new techno compilation featuring Regis, Oscar Mulero, ASC, Stanislav Tolkachev, Anthony Linell, Jonas Kopp, Claudio PRC & Blazej Malinowski, Valentino Mora, D-Leria, Sciahri & Desroi, Simone Giudice and Svreca.

The eagerly anticipated second remix package of André Hommen’s More Than This album is set for release in April on his These Eyes imprint. Following the Remixes Pt.1, featuring Robag Wruhme and Jonathan Kaspar, André recruits heavy-weight’s Donato Dozzy, Michael Mayer and Manuel Tur to deliver the remixes of Pantone. Donato Dozzy kicks things off with a tribal-esque remix. A bass-heavy, rolling drum at the heart of the track is met with intricate percussion and bird sounds, which take you on a tropical journey. Michael Mayer’s remix gets to work with a punchy, up-tempo bassline, perfectly partnered with airy synths and soothing pads. Rounding off the release, Manuel Tur’s remix offers darker drums that progressively build, enhanced with finely chopped vocals that echo in and out combined with minimalistic melodies. Italian native Donato Dozzy is widely acclaimed in techno circles across the globe. Displaying a large variation in terms of sound and method, his releases can be found on Tresor, Spectrum Spools and his own Spazio Disponibile. As a co-founder of Kompakt, Michael Mayer works closely with artists on their releases for the label. With three studio albums under his belt and numerous remixes for the likes of Miss Kittin, Pet Shop Boys and Depeche Mode, it’s easy to see why Mayer has such an acclaimed status in the dance world. Manuel Tur was born and raised in Essen, Germany. He released his debut EP at the age of sixteen and has gone on to release on labels such as Freerange and Running Back.

2022 Repress

'Enande mane' is Evigt Morker's first release for Northern Electronics since his artful debut album, 'Krona.' The fizzy bliss of melancholia's brutal truths have rarely been explored this thoroughly by Evigt Morker until now. Though often riding the torque of his caustic moments with a playful, ebbing refrain, these four tracks lead with the elation.

Siavash Amini is a composer from Tehran, Iran. He Has worked with labels like Room40, Hallow Ground, Opal Tapes and Umor Rex for the better half of the past ten years. He has performed at festivals like CTM & MUTEK and many other well known international events. Apart from it Siavash is a co-founder of the “SET experimental art events” and “SETfest” in Tehran, Iran. His work ranges from fragile ambient pieces and brittle IDM (incorporating his distinctive style of atmospheric guitar playing) to noisy drones and bleak modern classical pieces. His compositions have been inspired by films such as Andrei Tarkovsky's The Mirror as well as novels by Dostoyesvky and poems by T.S. Eliot.

Saffronkeira is the Sardinian sound researcher Eugenio Caria being active in the electronic music scene since almost two decades. His most recent work - a cooperation with the Italian jazz trumpet legend Paolo Fresu - earned a lot of praise from the international music press for the pure timelessness of the album.

"Upon hearing a small snippet of sound an image is conjured, not a memory but not unfamiliar. A shell of a memory, thousand events superimposed on each other. While trying to extract points of a narrative to ease the discomfort of this recollection, I try to separate and unfold the image and with it the points of the spectrum which make up the sound, a shell of a narrative. Here is an album based upon an almost entirely imagined/ synthesized happening upon hearing a snippet of sound. It sounded like of a whole story that never happened but yet I felt myself amongst it’s participants, a sound triggering a false memory. Each sound in Eugenio’s collection of sounds and ideas guided me a to a point in the narrative and it’s construction. He had handed me a portals of some kind to a few scenes of the whole narrative. This is the soundtrack for that false memory from all the perspectives I can think of."

PDD are super excited to welcome Only Child to its ever growing label roster.

Alex Burkat returns with his first vinyl release in 3 years on New York City / Philadelphia based underground record label.

The Spiral Island features the best of his unreleased material from when he was living in Flatbush, Brooklyn NY from 2010-2014. Expect meditative ambient, classic downtempo dubstep, and hypnotic drone.

Early Support

King Britt, Eamon Harkin

Collaborations is a new series curated by Artefakt on their own imprint De Stijl. Inviting friends and likeminded artists for extended studio improvisations crafting an EP based on live sessions. First guest is Claudio PRC, a close friend and familiar face in the deep techno scene. Having released on labels such as Semantica, TGP, his own 012 and most recently Delsin Records, he has a close connection to Artefakt. Both artists reside in Berlin and share a dedicated passion for atmospheric and immersive ambient and techno. Collaborations I features four jams combining the unmistakable strengths of both artists, resulting in a well varied pack of emotive techno with room for experiment. Where 'Gaia' and 'Dwelling' feel like iconic tracks of the pair teaming up, on the flip side 'Sonic Rite' slows down in pace and catches a magnificent groove. The shared love for ambient results in the mesmerizing closer of the EP 'Distant Light'.

Repress

Inner Tension is the record label of Polish (Berlin-based) artist Blazej Malinowski which is an expression of his deep interpretation of techno. The label aims to provide an eclectic vision of dance music which reaches deep within the mind itself and projects atmospheric and warm sounds for the dancefloor.

The 001 sees a 4-track EP released January 2021 on vinyl/digital containing 3 originals by Blazej himself & a remix by Oscar Mulero.

The first release Inner Tension 001 called 'Katharsis' signifies the birth of the label and its sound & direction.

Katharsis (from Greek κάθαρσις, meaning "purification" or "cleansing" or "clarification") is the purification and purgation of emotions -- through art or any extreme change in emotion that results in renewal and restoration

The 4-track EP contains 3 originals by Blazej himself & great rework by Oscar Mulero. The A1, 'Katharsis' is a classic trippy and deep techno signature from Blazej. A2 follows with a more clubby track 'Behind' with a hint of psychedelic deep techno feeling. B1, 'The End' brings plenty of energy and without a doubt a peak-time flow; uplifting & high hats hitting.

B2, the Mulero remix of 'The End' captures a real twisted yet emotional journey with a long build up and subtle breakdown with a raw finish.

Original Cover Photo by eerie.mydriasis

Swiss Arrow is the latest musical incarnation of a Santa Fe, New Mexico based multi- instrumentalist who began as a classically trained musician and vocalist. He has taken a few notable off ramps that began with his exploration of free jazz and industrial music in the early 1980’s, and continued when his partner introduced him to ambient electronic music and Detroit techno in the 1990’s. Since 2010, he has performed DJ sets as LSTNR, rst with his Intergalactic FM, Dream Machine show, Speak No Evil and currently as part of the SEER collective.

First and Last Breath is a set of improvised devotional pieces that explore the long void between the events that denote the beginning and end of human life. Performed on a range of instruments including the earliest – the human voice, the more recent – cornet, guitar and tape loops, and the most recent – digital effects.

Spring Snow is a compilation of eight leading experimental artists from different cultures and musical backgrounds who were asked to freely reflect on the word, nostalgia.

The word, nostalgia, in particular comes from the Greek nostos (homecoming) and algos (pain), which are reflected on both sides of the record.

Li Yilei's SHI, meaning 'time' in Japanese, sets the stage with its free-form synth notes and traverse rhythms. The listener is then presented with a memory of an orchestra, conducted by Lucy Liyou, leading to euphoric moments from Sawako and Gonima.

The latter half explores the melancholic and sometimes painful side of nostalgia and youth. Forest Management opens the journey with a late-night rumination, which seems to loop endlessly. Jiyoung Wi, from South Korea, reflects on her birth and upbringing, and leverages her own voice to narrate the story.

Things take a deeper turn with Gaël Segalen's The Bed of Wewa, which paints a rougher picture with its noisy soundscapes, pounding synth notes, and synthetic voices. The trip concludes with Evicshen's rumbling and noisy track, titled Inguinal.

Emily A. Sprague’s deeply rooted insight and clear-eyed foresight is harbored once again in the newly carved space of Hill, Flower, Fog. “Hill, Flower, Fog is a place and a poem,” says Emily, “a personal letter and vision for myself, outlining priorities that I aspire to incorporate during my time on earth: family, sustainability, patience, and growth.”

Seeking language and dream between the stasis and shift of this year’s blur, Emily found nourishment in transformed daily practices, a process of retrieving the important things from the fog of past routines. Channeling deeply into the here and now fostered a far-reaching connectedness, a lifeline from the everyday to the cosmic.

If Water Memory / Mount Vision, Emily’s first forays into formless music, read as earth-bound passages, HFF scatters more ineffable references across its pages. The maximal stretch of the universe, and germanely, its minimal density, are explored through compositions that search and embrace the infinitude and human condition mirrored, fragmented, and felt in both.

On HFF, Emily invites meditation on perception and sensation in a six part spectra. “Moon View” and “Star Gazing” are cosmic commitments to look up, while “Horizon” and “Mirror” describe abstract views relating to the position of self and its projection outwards. “Woven” and “Rain” represent more textural and tactile impressions, elemental immersions in our earth’s perfectly imperfect patterns.

Each piece varies subtly, yet remains soundly familial. HFF begins with the groove of a restrained, molluscan signal, our ears perceive signs of hope with twinkling momentum. Rippling out in florets of sound, we slide closer to the source as a deeper drone is braided through thrumming tones. A meticulous music box drops notes precisely on an ideal garden, until we reach the collection’s most fine-drawn and final entry, watching little comet tails lighting up a muted scape of the deepest indigo.

The sounds of HFF share a visual space with a series of carefully arranged pictures captured by Emily. Welcome to Hill, Flower, Fog, an artist edition photography book offered with the album, usher the communal story from ether back to burrow, describing moments

Spazio Disponibile hits release number 13 in style with a collaborative effort between label co-founder Donato Dozzy and longtime friends Retina.it. It is a typically experimental release that features five weird and wonderful tracks, seeing the label taking yet another dip into the more leftfield areas of electronic music.

Marco Shuttle is back on his own label with unreleased material for the first time since 2017. The EP features 4 carefully designed and colourful Techno tracks with a strong electronic flavour, diverse in their elements but still very cohesive as a whole with the signature Shuttle spacey reverbs and organic textures. Dance music for body and for the brain.

The saga continues... This time Artefact, Tilliander, Lakej & Shifted are on the job.

Alpine Drone from the very depths of misty forests and snowy mountains. A mystic journey through Alpine nature appearing in front of your inner eyes. Winterstille is a unique conceptual Alpine Drone album by the inventors of Alpine Blackmetal

Repress

Kalahari is the first EP from producer Sindh, who, like many of the artists on Valentino Mora's IDO, expresses a wistful fondness for nature in its myriad forms. The project Sindh was named as such after the musician had an affecting encounter with the magnificent Indus River in Ladakh, the lush vegetation and landscapes in this region clearly inspiring Sindh's sound. Sindh's regard for the natural world as well as science fiction is reflected in the instruments employed in Kalahari ranging from flute, bongo, percussions and modular and Ciat Lonbarde synthesisers. Over the four tracks, Sindh leads us through four distinct landscapes, the narrative unfolding track by track. In Saptura, ethereal atmospheres guide us through a ruin-strewn terrain where vegetation has virtually obscured all traces of human life. The resoundingly tranquil mood maintaining faith in the arch of the universe. Sidam opens with a more mysterious tone, inviting curiosity into the next environment as a gentle rhythm guides, allowing space for strange, other-worldly surprises. As winds whisper and synthetic rain responds, the pared back percussions that prevail in Nun-kun introduce a human touch. The warm grooves and atmospheres hint at a more temperate (future?) climate than the tracks namesake currently suggests. Arriving at the closing track of the EP, Kalahari delivers deep grooves and spirited high-hats that will ignite the weariest of travellers. The bizarrely brilliant inflections will remain in your ears long after the track is finished. A stunning sixth release for IDO, Kalahari demonstrates the evolution of the label's sound, offering the opportunity to include traces of minimal and glitch sound palettes whilst maintaining IDO's luscious, spiritual qualities.

Delft-based label Omen Wapta's second release is An, an EP by Japanese producer Yuki Matsumura. Born and raised in Kochi, Yuki has previously released two albums of avant-glitch techno through Moph Records and Artificial Domain. On his new EP, the artist continues to pursue a sparse and introspective sound, defined by his heavy processing and editing techniques, labyrinthine sound design, and distinctive rhythmic patterns.

2 rare historical recordings (1983 and 1986) originally released as single sides and gathered here for the first time.

"Conductor might be my favourite composition and Life And Death Of Pboc might be my most sincere. Conductor was my first composed piece with no obvious reference points ... Life And Death Of Pboc was the second. These two compositions gave me the title Godfather of Dark Ambient."

Carl Michael von Hausswolff, born in 1956 in Linköping, Sweden, lives and works in Stockholm. Since the end of the 70s, von Hausswolff has worked as a composer using recording technology as his main instrument and as a visual artist using light projections, film/video and still photography as well as other media. He has exhibited at dOCUMENTA (Kassel), the biennials in Venice, Moscow, Liverpool, Istanbul, Sarajevo etc and in Copenhagen, Stockholm, Nicosia, Kaliningrad, Tokyo, London, New York, Philadelphia etc. His music has been played in festivals such as Sonar (Barcelona), CTM (Berlin), L'audible (Paris), el niche Aural (Mexico City), MUTEK, (Montreal) etc. and release works on LP/CD/DL by labels like Erototox (Ashevile), Sub Rosa (Brussels), Touch (London), Pomperipossa (Göteborg) and iDeal (Göteborg). He recently curated the 2nd part the sound-installation FREQ_OUT named freq_wave in co-operation with TBA21-Academy and collaborates with artist Leif Elggren, EVP re-searcher Michael Esposito, composers Hans-Joachim Roedelius, Mark Fell, Jim O'Rourke, author Leslie Winer and as Dark Morph (with Jónsi of Sigur Rós). He has also collaborated with Pan sonic, The Hafler Trio, Freddie Wadling and Erik Pauser (as PHAUSS).

For Delft-based label Omen Wapta's first release, Japanese musician/sound designer/coder/producer JEMAPUR explores the far reaches of abstract experimental techno on his album Mode Cleaner. Pulling from music made between 2016 and 2020, JEMAPUR demonstrates his distinctive use of glitch, microsampling, live coding, and granular synthesis techniques. The album was made when the producer was drawn to subjects like physics, geometry, murals, ancient civilisations, the logic of nature, and the observation of the universe.

Following an exciting end to 2020, which saw them sign to
Houndstooth, release a blistering single ‘Deadlock’ and named in the
NME 100 for 2021, SCALPING released their first full body of work,
‘FLOOD’ EP, and now this, ‘FLOOD REMIXED’, six remixes available
on translucent vinyl.
 ‘FLOOD REMIXED’ continues the band’s stellar trajectory. Over the
past few years, they have become an unmissable live act and gained
notoriety as one of the essential, electrifying new bands in the UK.
 Scottish post-rock icons Mogwai step up to remix ‘Cloud Burst’.
Stretching and expanding the track, creating new drum patterns, and
continually ratcheting up the drama inherent in the original; a naturally
sensational slab of post-rock.
 Fellow Bristolian, Hodge remixes ‘Monolithium’, a hybrid of hefty
bass, tribal techno and sophisticated, polyrhythmic drum interplay.
 The pre-eminent genius, multi-instrumentalist and composer Laurel
Halo supplies a remix of ‘Deadlock’, a single originally released in
2020. Laurel’s slick addition of a tight 808 groove underneath the
bombast subtly tweaks the atmosphere, creating a juxtaposition of
futuristic club and rock with vintage electro.
 Tokyo-born, Beijing-raised, London-based producer and DJ object
blue’s remix is a typically high-calibre experimental club cut, which
puts the propulsive drum beat front-and-centre underneath an eery
whispered vocal.
 ‘Empty Cascade’, remixed by the rising producer Azu Tiwaline,
leaves almost no elements of the original untouched, creating a
blissful and complex dub percussive driven ecosphere almost
unrecognisable from the source material.
 Aphex Twin favourites, AQXDM, deliver a raucous, rambunctious flip
of the single ‘Deadlock’. Packed full of blown-out breaks, maximalist
bass shots, icy synths, and cascading trance fragments; perfectly
excavating the elemental rave substance at the core of SCALPING’s
music.

Prairie is the project of multi-instrumentalist and producer Marc Jacobs, hailing from Brussels with roots in The Netherlands. He previously released an EP (I'm so in love I almost forgot I survived a Disaster - 2013) and an LP (Like a Pack of Hounds - 2015) on the Berlin imprint Shitkatapult. On stage, Prairie plays with two or three musicians and together they re-create a free association of musical ideas and atmospheres. Prairie has played in selected venues and festivals across Europe and toured with Apparat in 2016.If the apocalypse was painted in several layers of pastel gouache, its soundtrack might be PRAIRIE's Flash Flood. Listening to the album, we drift through a series of frozen landscapes that gesture at a post-apocalyptic ambience. This is a kind of blackened music that has been left to sediment, excavated from traces in ice core samples. Flash Flood showcases a deep sensitivity to narrative and rich cinematic textures as Marc Jacobs returns with palimpsestic sonic layers. It has been three years since PRAIRIE's last release—the 2015 Cormac McCarthy-inspired Like a Pack of Hounds—and it is clear that it has been several years of pensive reflection. Now, PRAIRIE takes the sentiment of his 2012 debut, I'm So In Love I Almost Forgot I Survived A Disaster, several steps further: it is after the apocalypse, and no one has survived. And yet with Flash Flood, we can hear the hum of this impossible future.

'After the Flash Flood' introduces the sonic ruins of distorted guitars, field recordings, drum programming and synths that create the textures of the entire album. The melancholic and subdued black metal churn of 'Raindeath' becomes the cold backdrop for unnerving, paranoiac speech. The third track, 'Sisters', foregrounds this coldness while slowly moving away toward alternate vistas where the acoustic timbres of the saz-driven 'A Permanent War Economy' take over. 'Underwater Body Hunting' and 'Rabid Ibrahim' are hard hitting beat-oriented tracks that insist on burning slow. There is a patience with PRAIRIE's FLASH FLOOD that is difficult to deny. The lamentation of 'Elephants Will Rise Again' perhaps signals that it is not only the human that is lost after catastrophe. The album closes with 'Hard Water: Cracked Ice' and 'Hayashi Clock'. The former is a beautiful coalescence of clean harmonious tones and softly overdriven drums, while the latter brings us back to a meditative state, drifting through the final pastel tapestry.

"... his cosmos is located somewhere between Bohren & der Club of Gore and Sunn O))), ambient is as familiar to him as brachial sounds, and he is as much acquainted with guitars as with synths and modern technology" (GROOVE)

"... Like Ben Frost, (Prairie) exudes a certain harshness while tempering his work with moments of sublime beauty. This isn't club material, it's music for the hammer in one's hand, the confrontation of the demon, the soul-shattering revelation." (A Closer Listen)

BLNDR's debut album L'Observatoire is a nostalgic overview of his past few years. The following pair of twelve-inch records attempts to capture meaningful memories from travelling around the world. Embodied with a marking touch of melancholia laced through most of the tracks; it is a contemplative ambient journey recorded in a period where fantasy and memory met.

This is Hypnus Records' third double LP and the first in a line of albums that will be released in 2018 and well into the following year.

"Wow - this music has so much freedom and harmony! Totally beautiful" - Cio D'Or
"Beautiful album, each track is a great journey with great atmospheres and sound design as I like" - Claudio PRC
"Beauty!" - Francois X
"beautiful work" - Oscar Mulero
"It makes the imagination fly wild! Breathtaking atmospheres with a cinematic touch and retrowave synths... Pure magic!" - Primal Code
"Beautiful." - Svreca
"Amazing to discover a soothing and emotional masterpiece from this talented producer. Pure food for the soul." - Toffes Varld

Further early support from Etapp Kyle, Eric Cloutier, Nihad Tule, Exium, Tensal, Deepbass, Samuli Kemppi, Takaaki Itoh, Synthek and AWB to name a few.

Released under the June full moon.

Love and light.

I had been walking for days through dust and brambles. I had been walking so long that I couldn't any longer feel thirst. I dragged my sinner soul stuck on me. Step by step towards that white light, which was pure like the origin of the universe. Salvation at the end of it all.

Following her debut album, I'll Look for You in Others (Past Inside the Present), Patricia Wolf joins Spain's Balmat label with See-Through, her second album. See Through finds the Portland, Oregon musician and field recordist continuing to develop her signature style of ambient, balancing radiant soundscaping with a carefully expressive sensibility. But the new album is also marked by an important difference. Where I'll Look for You in Others was largely written in response to the death of a loved one, See-Through represents a kind of rebirth.

Jonathan Kusuma makes his return to Cocktail d'Amore with a love letter to his Indonesian homeland. Each song is steeped in the ancient textures and timbres of the gamelan, brought to life through modular synthesis. 'Awalan' opens the EP with a delicate touch - otherworldly chirps and aural colours of an early morning sunrise. 'Roda Rodi' as Mr. Kusuma explains is his interpretation of interlocking as a traditional Indonesian way of life - "Gotong Royong" or "Mutual Assistance". The idea of mutual assistance is the sharing of burdens between the member of community. Modular sequences tightly fitting into one another, helping to support one another in the structure of their momentary existence. 'Kerontang' and 'Racacak' are two cuts which have Jonathan's signature sound design printed all over them. Big, booming and full of enraptured percussion. We're treated to a haunting close on 'Lorong K'. Menaced tones rising and falling, small fragments piercing through as to be bits of disintegrating concrete falling off the walls of a lost city.

A repress here of 2019's under the radar 'Box EP by The enigmatic British producer JS Zeiter, who executed more greyscale dub techno excursions of a typically high caliber on this one. After some spookily sensual ASMR action on intro 'The Code' he continues to build the suspense on the beatless Subarctic Soundscape of 'Darkness Falls' before dropping the power on the cavernous and glacial beats of 'On The Moor'. Flip over and take on more of the frozen seascape on the deeply hypnotic groove of "Empty" before one more emotional ambient outro in the form of 'Endgame'.

Succession of images, clean memories resurfacing abruptly, not foreseen, not governed by the rational will.

The element of air enlightens fresh harmonies of open spaces, nature in instrumental guise lies down, taking life on irregular, porous rhythmical surfaces.

Swedens sound art, noise and experimental main-stayer Carl Michael von Hausswolff with a two part sound piece from installations at Pierogi Gallery (Brooklyn), Museo Rufino Tamayo (Mexico City) and ZKM (Karlsruhe). Mainly recorded between 2001-03 this is a trademark, and maybe traditional, sonic landscape from the Nordic region of Europe's sonic art movement post 2000. Harsh, but always elegant. Consistent and with little traces of our current society.

Since launching a decade ago, the label has increasingly focused
it's attention away from generic club sounds and last year's releases include Sigha's IDM-tinged alias Faugust, as well as left-of-centre
EP's from Portrait and AVL.

Joining them for the label's first release of 2020 is innovative Japanese producer 'Masaki Uchida' who displays his prowess as a sound designer and multi-instrumentalist across six tracks. Uchida rips apart a variety of contemporary and classic electronic styles, reassembling them into a uniquely beautiful new whole.

Often walking the line between extremes, the release features both moments of chaos and times of complete silence, exemplary of not only Uchida's bold approach to the song writing process but also
his unquestionable talent as a sound designer and engineer.

Limited Edition 200x copies!

The Berlin based record label Triamb presents "Thema" Reworks, with ace reworks for the most representative tracks from Saumeth's album "Thema", which already made some waves in the techno music industry, getting the attention and reviewed by Faze Mag and many other electronic music media, and what better way to celebrate this with a 12" vinyl featuring the amazing reworks produced by Steve Parker, Marco Bruno and Mental Resonance.

Steve Parker reworked "Port", infusing some Acid vibes in the track, creating a groovy mind-washer. "Clinn" was Marco Bruno's business, the Italian producer pushed on the bpm, providing a fast and energetic Techno banger. To complete the ep we'll find Mental Resonance, who crafted two reinterpretations of "Awaking" giving his dark and percussive imprint to Saumeth's track.

Supported by:

DVS1, Skaliger, Relic Radiation, Arweenn, Drafted, Cisco Ferreira, YYYY, Anthony Parasole, Sciahri, Arnaud Le Texier, Raffaele Attanasio, Alfredo Mazzilli, Luigi Madonna, Hemka, SLV, Hd Substance, Dax J, Fragmentor, Slam, Chris Liebing, MTD, Paco Osuna, Secret Cinema, Dimi Angelis, Noir, Ilario Alicante, Angel Molina, Anika Kunst, Anderson Noise, Exilles, Radial, Kontal, Fixon, Juno Kusti, Marco Bailey, Sigha, Techno Cadeau, Takaaki Itoh and Mark August amongst others.

Continuing its exploration of improvised music as a haunting ritual at the confines of the Martian territories of noise, drone and ambient, FOUDRE!, the supergroup composed of Frédéric D. Oberland (Oiseaux-Tempête, Le Réveil des Tropiques, FareWell Poetry), Romain Barbot (Saåad), Paul Régimbeau (Mondkopf, Extreme Precautions, Autrenoir) and Grégory Buffier (Autrenoir, Mätisse) invites us to take part in its Future Sabbath. Fifth album of the group, this project stems from a desire to probe the invisible forces that live within us, through a ceremony that brings together occult sciences, forgotten landscapes and the fever of the unconscious. Created around the recording of one of their live shows at Instants Chavirés (Montreuil, France), overdubbed by the band then produced by their dedicated sound engineer Camille Jamain, it is also an invitation to a dance, a secret dance, embodied by a powerful breath of life, an electronic discharge against the temptation of a toxic cynicism.

Gathering regularly since their debut in 2015, FOUDRE! brings together electronic and acoustic instruments, merging incarnate and disembodied souls, past and snippets of a post-apocalyptic future. After the ghostly and hovering EARTH (2017) then the wild and telluric KAMI神 (2018), Future Sabbath travels even further into the tangle of genres and textures, offering a luxuriant palette of moods and emotions. Passing through the tracks with evocative titles, mystical symbols and spiritual signs set this Sabbath of machine sorcerers ablaze.

The US-born, Norwegian-Mexican musician and producer Carmen Villain, real name Carmen Hillestad, has spent the last nine years and four albums gently unraveling song into the sound of emotional impulse. From the tilt and croon of her first two albums to the expansive warmth that flows and pulses beyond ambient in her more recent output, Hillestad's journey is artful musical deconstruction but also somehow spiritual growth.Hence new album Only Love From Now On, her fourth full-length and the culmination of a build-up that really began with the turn in sound evident from third album Both Lines Will Be Blue (2019, Smalltown Supersound) and the subsequent releases Affection In A Time Of Crisis (2020, Longform Editions) and Sketch For Winter IX: Perlita (2021, Geographic North). While the seed of her aesthetic was planted earlier, it has blossomed into something unexpected, benevolent in its composure and altogether luxuriant in its sensuality. If her themes, especially now, are wide, philosophical, and occasionally abstract, the emotional tenor of Hillestad's music is clear and purposeful. Makes sense that her key musical touchstones are dub, ambient, and cosmic jazz - flexible vehicles for tranquil wonder. While it may not contain voice or lyrics, as her two earliest records do, she describes it as, "wishing to maintain a sense of careful optimism for the future, while on the cusp of something unknown." Listening to Only Love From Now On is simultaneously comforting and alluringly strange. Partly it's the contributions of guests Arve Henriksen (trumpet, electronics) and Johanna Scheie Orellana (flutes). Partly it's the fluidity between instruments - such as clarinets - field recordings, the studio, jam, and careful composition. She calls the process a conversation with sound that occurs in her deliberate attempts to experiment with new methods, like granular synthesis, for her music-making. But mostly that strange comfort is in the peace and grateful contentment she has found via the stark recognition of her own privilege - laid bare by the pandemic. Only Love From Now On is fueled by the sense of scale in feeling small in the face of things so large, the contemplation of how the biggest impact we can have is in the people close to us, the attempt to make sure that impact is a positive one, and the choice to try to focus on love instead of fear.