Techno News

Second release for the Decouple Series, a project that aims to showcase artists working, in their own ways, at the bold fringes of electronic composition, experimenting around the topics of increasing complexity, dependencies and miscommunication in a media-saturated digital era.

British producers Dale Cornish and Sim Hutchins join the project, the former playing with an anti-sober, almost eccentric euphoria, the latter with nostalgic and slighty eerie ambient feel. The thinness of reality is made of transparent things and refractions - external and internal points of view of the same subject.

Croydon's prodigy Dale Cornish joyously plays here with a terse, oblique, abstract, almost candid, almost brutal TR- 909's 'floor friendly pattern. Not immune to unpredictable subtle fractures, the witty nine minutes of percussive repetition stretches out beyond its physical form, hinting at moments of climax but never overwhelming its voyeuristic nature. Saturated handclaps and hi-hat pan-pots widen top-end frequencies while classic 909 claves incursions, cowbells and tambourines counterpoint. What sounds like a recording of Dale's own voice lasciviously recurs so to become the track's title itself - 'California'! Playfully pointillist explorations, pulse and percussive deconstructed gestures place this track into the elusive territory between dance-floor and experimental.

'The product of a bleak winter night, cold fingers gripped tightly on restraint/release controls. Red wine sipped from a mug in lieu of adequate central heating. Stifled sense of euphoria inferred by subtle melodies not brave enough to visibly cross frozen pads, instead opting to lurk in the chill of closed hats and hollow bandpasses. Though unable to procure the resources required to stoke the internal flames of creative thought, I powered through instead and struck tipsily at chords, and at the red-skied February dawn 'Druk Pak' was the end result'. No better words than Sim Hutchins' own to describe a tune of potential somnambulism, obscure awarness and future nostalgia for the present-day. Another time his vision, sounds and impulses set markers of contemporaneity.

All cover pictures for the Decouple Series are taken from Alice Bonfanti's 'Transparent Things' courtesy of the artist.

DarkSonicTales is a project by Rolf Gisler and his eponymous album his first for Hallow Ground. Having been granted an artist residency by the label in a 300 year-old farm house in the Swiss countryside in autumn 2019, the Lucerne-based musician and sound artist explored the peculiar sonic environment of the building and its surroundings through the use of field recordings, modular synthesizers, guitar, bass, kalimbas, a singing saw as well as self-built instruments. "DarkSonicTales" starts with kalimba sounds and field recordings, setting the stage for "Sonic Darkness"- a self-referential spoken word piece whose sinister jazz-like sound calls to mind Bohren & der Club of Gore. The following "Spring Feelings" contrasts insect sounds with harsh noise elements, elegiac drones and a throbbing rhythm. It's not quite what you'd expect from a piece with such a title, but the stories that Gisler tells throughout the record are more concerned with uncovering the hidden histories underneath what meets the eyes than (re-)creating idylls. The nine minute-long "I Still Believe" further underlines that by bringing together glistening synthesizer notes with industrial-like drones and field recordings that give it a palpable effect before Gisler unexpectedly changes course and quite literally bursts into song. Towards the end of "DarkSonicTales," the music becomes notably more minimalistic. Gisler experiments with the dynamics of modular drones on "Kind of Restless," juxtaposing birdsong and ominous electronic noises on "Best Buddies" before a mid-tempo beat emerges, making the record close on a decidedly hopeful note. These dark sonic tales, they have a happy ending. "DarkSonicTales" is an organic album in more than one sense of the word. Reacting to and reflecting the world around him as well as expressing his inner one, Gisler gives the sounds at the core of his multifaceted compositions space and lets them breathe. Working along stark contrasts and with surprising twists, he also shines a light on the atmospheric and emotional ambiguity of the world he encountered during his solitary artist residency-unearthing the hidden layers underneath what is perceivable.

This release is part of special double vinyl pack, sold separately.
Drone slow techno and 4x4 experiments by the owners of the label, F-on and Urtzi.

What is experience, but a husk, made up of moments in time, formed by myths, habits and rituals, molded by the country we call home. Who are we, but spectres facing the ambiguity of the coming day, while navigating the winding roads of our past.
What is left, but to make sense of it all through the gaze of a lover, discover passion through the kindship of music, embrace life, through the ancient fibers of the land.

“Distinct arrangements of silky, swaying pedal steel chords echo through smoke-filled rooms as booming bass guitar drones and cacophonous percussion occasionally shifts into fleeting moments of steadily swinging rhythms - grasping onto form amidst abstraction.”
Originally self-released in 2020 by New Orleans based Kelby Clark, ‘Casino’ is a self-reflective, acoustic journey, exhibiting the tender charisma of a bygone age filled with optimism and high stakes, while subsequently revealing a modern sense of sullen tension and ambiguity.
We believe this vital piece of southern storytelling should be available to the wider public, and thus we are elated to present the expanded re-issue of ‘Casino’, containing 2 additional pieces completed around the same time of the original work, as well as featuring new accompanying artwork.

From their native St. Petersburg, Square Fauna evoke a score for imaginary protoplasmic oceans, surreal, sepia-tinged space operas and Russian sci-fi folk tales; lush, green landscapes littered with the burned out husks of automobiles, military vehicles, and askew telephone poles no longer in use though marked by pools of water in which can be found the debris of modern society. Primitive kosmische electronics and vintage spacescapes cascade around complex polyrhythmic percussion. Ethereal mists of gaseous reverb are scattered by windswept synths and white-noise striations.

‘Meet The Fauna’ is as much of a cheeky nod to The Residents and Coil (or even Haroumi Hosono and John Hassell) as it is to the likes of B12, Black Dog, Richard H Kirk.

A completely singular, modern sci-fi soundtrack for the discerning sofanaut.

Produced by Dices & Flaty.
Artwork by Al White aka Crud.

"QUINZE" -"fifteen" in Catalan- is the title of the new release from Barcelona’s Lapsus Records. Lapsus celebrates its fifteenth anniversary with the launch of a new compilation comprised of today’s most compelling, experimental and ground-breaking electronic music. Fifteen unreleased songs from artists that best define the Lapsus sound: Attraktta, Chevel, Gábor Lázár, Gacha Bakradze, Johanna Knutsson, Karen Gwyer, Leif, Machine Woman, Patricia, Pye Corner Audio, RRUCCULLA, Steve Hauschildt, Telefon Tel Aviv, The Belgium and Ylia. "QUINZE" will be released in late February and two different versions will be available: A standard double LP edition; and a collector's edition LP packaged inside a bespoke cement case of which only fifteen units will be manufactured.

Voodoo Down Records presents the debut 12" of Melbourne-based techno producer JXTPS, who delivers here three powerful cuts of rolling big-room techno. The EP kicks off with a bang with some breakbeat fills that clear the way for heady hypnotic tension on "Become Nothing". The B-side opens with punchy acid stabs and distorted guitar chords on "Untitled 02", and closes beautifully with a creeping early-morning groover on "Mr. Pink".

Sit tight, keep an open mind, let the balm of music surround you.
You are one of the multitude, in a collective listening act.
The nocturnal cicadas will guide your steps into Olorun’s enchanted world.
Asiento is gentle yet brave, attentive yet curious, the feeling at the start of any journey, real or imagined. You can feel a light summery breeze on your skin, accelerating your pulse: a need for exotic places. Accept it and savour it.
Tribal rhythm of the unknown, a pleasant memory of our past and the anchor to the natural world. Intrigued by a flock of birds flying high, cherish the beauty of this haven of sweetness immersed in lush nature.
Yoruba is a delicate ode to movement, a cinematic fantasy of this adventure through the jungle. Pulsing, chasing, echoing: we are fascinated by the natural world, especially because we can’t fully comprehend it. The adventurous Spirit will show us the beauty of Gaia.
Aroüagues brings in ancestral voices to chase the listener, organic percussion to create magical soundscapes. Like a sturdy shell that passes through foggy textures, this is a moving meditation. The connection with the natural world is reminded by the sound of the cicadas.
Danieli’s Amalgam is a liquid sculpture, modeled on the crescendo of this short but delightful voyage. Fog has become warm, a sense of rarefaction to come full circle, creating a twirling, bouncing sense of dance, a place where getting lost again and again. A place where appreciating the untouched beauty of this universe, in times where this seems the most difficult thing to do.




d b2 Aroüagues (Daniel

'Unfailing Love' is a deeply personal and intimate project by zake & marine eyes. These tracks will take you on a journey of grief, resiliency and the power of the human spirit; a consistent path to learn compassion and empathy deeper. It is a testament of unfailing love. Forever floating together.

Konduku's rhythmically curious strain of techno deals in delicate, interwoven patterns and tangible atmospheres. He arrives on Spazio Disponibile with four new pieces which further mark out his non-standard approach. From the fluttering bell tones of Parlama to the stepped, transcendental murmur of Mantar Kaya and Yukari's high-definition chime mantra, the sound of Konduku is crystal-clear, and yet its overall effect unfurls around you like smoke - all the better for your ears to breathe it in.

A joint effort long past due, PITP founders zake and Isaac Helsen team up to bring forth three arrangements that encompass textured ambient washes and drone-laden guitar work titled 'Beliefsystems'.

The Portuguese scfi maker Nørbak is back home after his "Faktor EP" from January 2019. These non clubbing days look like the perfect scenario for listening to long distance works, so here you have this brand new album to enjoy at your private soundsystem.

"Flesh to Ashes" will be released both physically and digitally, with an extra track on the downloadable version.

Nørbak is well known for his precision and deepness, always pushing forward production wise, focusing on the details and sound design aspects.

The album gravitates between beatless cuts, broken beats, profound exercises and virtual dancefloor weapons.

"Intro" and "Camera" (the extra digital track) belong to the first category, "The third morality" is the broken cut, "Flesh to ashes" and "Land of sin" explore the deepest side of techno and the rest of the tracklist is about peak time tracks.

The overall feeling while listening to this album is travelling out there where no gravity is the mood, swinging among stars and constellations, landing on undiscovered planets... a landscape with no viruses or facemasks or repression.

A collection of a-temporal tracks that will surely pass the test of time and be ready to be playable whenever this nightmare ends.

The first LP to be released by Villa Lontana Records is ‘21-9-18’ by Andrés Saenz de Sicilia. Saenz De Sicilia is a founding member of London-based trio Pataphysical who released their debut LP ‘Periphera’ with Glasgow based record label 12th Isle earlier this year.

This record is a documentation of the artist’s performance in the car garage of Villa Lontana on 21 September 2018. A Roman necropolis of more than 160 tombs dating back to the first half of the 1st century BC was recently rediscovered under the concrete garage. The sounds for ’21-9-18’ were built upon a quadrophonic sound system, designed to respond to the physical environment of Villa Lontana’s garage, later rendered to stereo by the artist for the production of this record. The sounds produced consider different senses of weight, density, and time and include a text-sound collaboration between Andrés Saenz de Sicilia and Adam Green, writer, artist and editor of ‘The Public Domain Review’.

Following on from the deranged machine mulch of the Cru Servers we proudly announce the second record on the label to emerge from our native south side of Glasgow. Lo Kindre is the solo project of Irish/Luxembourgish bedroom producer, amateur footballer and award-winning bartender Daniel Magee. Crawling out from the undergrowth at the speed of a snail with dreadlocks this six track EP builds upon his previous venture for Optimo Music and manages to enchant in many of the same ways. Chlorophytum ticks all of the right boxes, sitting somewhere between a budding sci-fi homage, drum machine escapism and a fascination with the motorik styles of West Germany and the wider On-U continuum. Lo Kindre's sound has recently developed by way of countless hours spent twiddling with delay units alongside vintage Italian football commentary and murky casks of Tennents, and has culminated here in the following six tracks. The seventh 12th Isle now ecstatically morphs from our galaxy into yours.

2x12"

Berghain Fünfzehn sees Luke Slater creating new compositions from the Ostgut Ton back catalogue, chopping, looping tweaking and deploying sounds into a mix that is both a playful retrospective of the label and future-facing vision for mixing and dance music. On April 17, seven exclusive tracks from the Berghain Fünfzehn DJ mix will be released on two 12”s and for streaming/digital download. De- and reconstructing the Ostgut Ton discography, Slater’s vision encompasses not only sampling but live electronics and improvisation, resulting in a broad spectrum of heady and liminal dance music: from ultra stripped-back mindfuck techno, vocals and blasts of distortion to breakbeat excursions, minimalistic acid, and rave polyrhythms. In other words: the arc of the label through Slater’s singular hallucinatory prism.

Mit Berghain Fünfzehn schafft Luke Slater neue Kompositionen aus dem Ostgut Ton- Backkatalog, indem er bestehende Sounds zerhackt, loopt, neu justiert und in einen Mix einbettet. Das Ergebnis ist eine spielerische Retrospektive auf das Label und gleichzeitig eine zukunftsweisende Vision für Mixing und Dance Music als solche. Am 17. April erscheinen sieben exklusive Tracks aus dem Berghain Fünfzehn-DJ-Mix auf zwei 12"es und als digitaler Download / Stream. Mittels einer De- und Rekonstruktion der Ostgut Ton-Diskografie umreißt Slaters Vision nicht nur Sampling, sondern auch Live Electronics und Improvisation, was sich im breiten Spektrum berauschender und liminaler Dance Music artikuliert: von radikal abgespecktem Mindfuck-Techno über Vocals und Verzerrungen bis hin zu Breakbeat-Exkursionen, minimalistischem Acid und Rave-Polyrhythmik. In anderen Worten: der Bogen des Ostgut Ton-Labels, gebrochen in Slaters einzigartigen, halluzinatorischen Prisma.

After 3 years of silence around Earth based producer Aleks, he makes his return with an outspoken ambient journey through thick atmospheres and time-bend galactic pathways. "From Space with Love" is a rare exhibition of tracks from this artist that reflect an introspective journey that can be best described as an adventure on a familiar but unknown mystical planet.

Previously known for his progressive trance works, van Wyk has spent a lot of his time as of late composing for the film industry. In 2013, his solo output switched to more pastoral forms of neo-classical leaning ambient with his first full-length Days You Remember, before moving into more piano-based composition for Attachment (2016) and Opacity (2017).

Threads does reflect some of his previous ambient works; however, the album shows van Wyk composing music for (and of) current times. There is a much-welcomed underlying beauty to Threads, but there are also threads of anxious- ness and unwavering intensity throughout its forty-minute run-time. It's an engaging listen full of texture where each piece takes you on an engrossingly escapist journey.

Originally composed around 1994-1999, James Bernard's Unreleased Works have lie dormant bar a select group of friends who were lucky enough to experience the release through an extremely limited CDr. Over 25 years later, James and A Strangely Isolated Place have repackaged this deeply personal collection of acid-infused ambient-breaks into two LPs and one extended digital album: Volume 1 (Acid Dreams) and Volume 2 (Elemental Dreams). Arriving at a time when James was primarily producing Trance and Acid under his Influx or Cybertrax aliases on Rising High Records, these compositions came to life when James felt most vulnerable and his style most malleable. The music was never intended to be heard by the outside world and was a remedy for his own private centering - a personal journal through tough times. Encouraged by close friends to rip copies to CDr after a few tracks were posted online, the album has since been long-sought-after and confined to the Discogs want lists. Originally spanning 3 CDs and themed in styles ranging from 'Beatless', to 'Beats' and finally 'Beats and Modular', it was a descriptive yet humble description for the tantalizing journey that lies within. The recordings combined elements of what is only now (over twenty years later) evident within James' extensive production arsenal over the years. Be it pure melodic modular synthesizer work, emotional chords, chugging trip-hop basslines, euphoric acid-lines, ambient-leaning trance, or a simple combination of all of the above; trying to further categorize the extensive work at play here is ultimately irrelevant past these notes.To help present the album in an updated and digestible concept, the full 28 tracks were reduced to 20 and further sequenced between two thematic vinyl editions. Volume 1 (Acid Dreams) on transparent yellow vinyl, takes its cues from the 303 with acid-soaked basslines, epic breaks, and more futuristic-leaning escapism. Whereas Volume 2 (Elemental Dreams) on transparent orange vinyl, brings more organic elements to the trip, with samples from unexplored fantasy worlds, deeper dives down the rabbit hole, and a nod to the chill-out rooms of the '90s. Featuring artwork by Steve Hyland (Geometric Love) and fully remastered by Rafael Anton Irisarri, James Bernard's Unreleased Works is available as an extended Pre-order in two Gatefold 2LP editions and one full digital album.

Originally composed around 1994-1999, James Bernard's Unreleased Works have lie dormant bar a select group of friends who were lucky enough to experience the release through an extremely limited CDr. Over 25 years later, James and A Strangely Isolated Place have repackaged this deeply personal collection of acid-infused ambient-breaks into two LPs and one extended digital album: Volume 1 (Acid Dreams) and Volume 2 (Elemental Dreams). Arriving at a time when James was primarily producing Trance and Acid under his Influx or Cybertrax aliases on Rising High Records, these compositions came to life when James felt most vulnerable and his style most malleable. The music was never intended to be heard by the outside world and was a remedy for his own private centering - a personal journal through tough times. Encouraged by close friends to rip copies to CDr after a few tracks were posted online, the album has since been long-sought-after and confined to the Discogs want lists. Originally spanning 3 CDs and themed in styles ranging from 'Beatless', to 'Beats' and finally 'Beats and Modular', it was a descriptive yet humble description for the tantalizing journey that lies within. The recordings combined elements of what is only now (over twenty years later) evident within James' extensive production arsenal over the years. Be it pure melodic modular synthesizer work, emotional chords, chugging trip-hop basslines, euphoric acid-lines, ambient-leaning trance, or a simple combination of all of the above; trying to further categorize the extensive work at play here is ultimately irrelevant past these notes.To help present the album in an updated and digestible concept, the full 28 tracks were reduced to 20 and further sequenced between two thematic vinyl editions. Volume 1 (Acid Dreams) on transparent yellow vinyl, takes its cues from the 303 with acid-soaked basslines, epic breaks, and more futuristic-leaning escapism. Whereas Volume 2 (Elemental Dreams) on transparent orange vinyl, brings more organic elements to the trip, with samples from unexplored fantasy worlds, deeper dives down the rabbit hole, and a nod to the chill-out rooms of the '90s. Featuring artwork by Steve Hyland (Geometric Love) and fully remastered by Rafael Anton Irisarri, James Bernard's Unreleased Works is available as an extended Pre-order in two Gatefold 2LP editions and one full digital album.

'Process' is the audible result of a change of pace and direction on a personal and artistic level. It is also the result of what enduring friendship can achieve. Tobias Karlehag, hailing from Gothenburg, Sweden, an ambient electroacoustic artist that explores the drone and ambient genre through synthesizers, samples and field recordings.

n. An assemblage of persons or objects gathered or located together; an aggregation.
n. A set of two or more figures that make up a unit or design, as in sculpture.
n. A number of individuals or things considered or classed together because of similarities.

Proving that patience doesn't necessarily forego energy, Dino Sabatini arrives on Delsin's Mantis series with a charged, imposing statement of meditative techno. Sabatini has been at the forefront of the deep techno scene since the mid 00s, cultivating a sound with his own Outis Music which acknowledges the structures of club music while reaching beyond obvious drama and brute force, offering something more subliminal instead. On Mantis 06, Sabatini blurs the lines between organic and electronic percussion as he doubles down on steadfast rhythms executed with delicacy and impact in equal measure.

The relationship between Norm and Core is in terms of sunlight playing over a mountain and a valley. Norm is the brightly lit portion, Core is the dark area occluded by the mountain's bulk. As the sun moves across the sky, Norm and Core gradually trade places with each other, revealing what was obscured and obscuring what was revealed. Norm is solid, focused, hot, dry, and active.

Fire – Sky – The Sun – Day Time.
Core, by contrast is yielding, cold, wet.
Water – Earth – The moon – Night-time.

From the mind of VernoN comes the first release of Eupasia, a label that tells the story of a mythic world built under the ground by some undead worms that have gained human characteristics. This first EP evokes gloomy and misty ambiences, followed by electro rhythms and rough basses, creating tension and resembling claustrophobia feelings.

Tape

The music on this album by Sofie Birch was originally created for the ASMR performance piece ‘Whisper Fold Brush’ in collaboration with SLØR Visual Performance / My Lambertsen. The album release version focuses on the music that was composed for the performance, while the ASMR sounds were moved to the background or are in some cases not present at all.

A joint effort long past due, PITP founders zake and Isaac Helsen team up to bring forth three arrangements that encompass textured ambient washes and drone-laden guitar work titled 'Beliefsystems'.

Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies.

Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv- later in Leningrad & now St. Petersburg, from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 - 1983, her repertoire included music for violin and later expanded to contemporary music composition.

The improvisatory nature of free jazz and then-budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop- Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one
in flux by way of earnest curiosity.

Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel to reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio and Pierre Boulez channels through considerations of space and erratic sound design, the 3 movements of ‘Metamorphoses’ embodying this textural approach to musique concrete.

The compositional skills developed in Leningrad unfold in the romantic gestures of ‘Higher Frequencies’, whilst manipulated cello combines with synthesise keys across ‘Passageway To Eternity’.
The slow, pulsating drone soundscapes recall the likes of Robert Rutman’s US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros.

The juxtaposition of written notation and improvisatory flare is central to Goncharova’s sound world. This period of home recording documents a confluence of minimalism, free form and flirtations
with new age tropes (inc. bell chimes and cavernous vocal mantras).

Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina’s home studio functioned as a place to foster full artistic and creative freedom
away from any academic strictures.

Relocating to Estonia in 1984, and in parallel to the deeply personal music of ‘Recordings Vol. 1’, Valentina performed at jazz festivals and gave classical concerts across Eastern Europe. In a sense, the recordings on these discs offer only a glimpse into her lifelong body of work. Over the past few decades she has taught at Tallinn Music College, expanded and updated post- Soviet popular music repertoire, collaborated with the Russian Philharmonic Society of Estonia and given concerts and charity events alongside the Catholic Church.

Hers is a life dedicated to the exploration of sound, a career forged through careful study and ceaseless intrigue. In a time where technological interconnectedness has allowed for music of the pas
to be continually mined and evaluated through new lenses, Shukai present an artist whose tendency for private home-taping had allowed recordings to go unheard for thirty years.

Repress

The two tunes you find in this debut EP have been fully written and produced by Dino Sabatini in his studio in Berlin. "Modulation A" may be a perfect introduction for the journey. It is a dense, tense ride into a liquid atmosphere of a techno playground. Far to be aggressive, though. Go through it, and you´ll get the essence of "Outis" label. "Modulation B" can be taken as a tool, yet totally undependent by its brother. As a "standalone" track, it can bring the dancefloor into an evanescent state of ghostly fog, self-spreading all around you. But when played over another track, it´s capable of adding the spiral touch of a transparent radiation, like being in a boundless land you´ve never been before

Non Series welcomes Biri for their nwhite series. Great 4 tracker ep ltd to 300 copies.

Pink / Grey Vinyl Repress

Shadow Acid follows up breakbeat debut Timescape with The Shadow Acid Files EP.

The mysterious Shadow Acid figure comes back at the end the year to present more of his sound with four new tracks, a remix from Hamburg based duo Extrawelt and a heady resource of locked grooves for vinylist DJs.

Shadow Acid’s sound marries acid futurism and references to the 90s rave, anything goes ethos of the past. It’s a sound that has rightfully earned the enthusiasm of a wave of music fans and DJs across the summer and has been played across BBC6 Music, Rinse FM and the streaming platforms around the world.

For those who missed the highly desirable promo 12” an EP version of the track ‘Timescape’ is included here and an extraordinary Extrawelt remix develops the mechanics of the breakbeat and drops the bass down even to deeper levels than on the driving force of the original. Across new tracks Brainforest, Diode Ladder, Another Chance and Seahawk, Braindance acid is melded with bass, ultimately made with dancing at their core.

2x12"

Berghain Fünfzehn sees Luke Slater creating new compositions from the Ostgut Ton back catalogue, chopping, looping tweaking and deploying sounds into a mix that is both a playful retrospective of the label and future-facing vision for mixing and dance music. On April 17, seven exclusive tracks from the Berghain Fünfzehn DJ mix will be released on two 12”s and for streaming/digital download. De- and reconstructing the Ostgut Ton discography, Slater’s vision encompasses not only sampling but live electronics and improvisation, resulting in a broad spectrum of heady and liminal dance music: from ultra stripped-back mindfuck techno, vocals and blasts of distortion to breakbeat excursions, minimalistic acid, and rave polyrhythms. In other words: the arc of the label through Slater’s singular hallucinatory prism.

Mit Berghain Fünfzehn schafft Luke Slater neue Kompositionen aus dem Ostgut Ton- Backkatalog, indem er bestehende Sounds zerhackt, loopt, neu justiert und in einen Mix einbettet. Das Ergebnis ist eine spielerische Retrospektive auf das Label und gleichzeitig eine zukunftsweisende Vision für Mixing und Dance Music als solche. Am 17. April erscheinen sieben exklusive Tracks aus dem Berghain Fünfzehn-DJ-Mix auf zwei 12"es und als digitaler Download / Stream. Mittels einer De- und Rekonstruktion der Ostgut Ton-Diskografie umreißt Slaters Vision nicht nur Sampling, sondern auch Live Electronics und Improvisation, was sich im breiten Spektrum berauschender und liminaler Dance Music artikuliert: von radikal abgespecktem Mindfuck-Techno über Vocals und Verzerrungen bis hin zu Breakbeat-Exkursionen, minimalistischem Acid und Rave-Polyrhythmik. In anderen Worten: der Bogen des Ostgut Ton-Labels, gebrochen in Slaters einzigartigen, halluzinatorischen Prisma.

Driftmachine Plays Marien van Oers' is a parallel physical output to the concert 'Massive Trance: Interpreted by Driftmachine,' which was performed during the 2019 Minimal Music Festival in Amsterdam. Both the concert performed at Muziek Gebouw aan 't IJ and the album take their cue from a cassette produced in 1983 by the Dutch experimental composer Marien van Oers (1955-2013). The original cassette states Van Oers' following intentions: "The basic idea of the performance is experiencing a constant repetition of sound (=rhythm), which can result in the spectator taking action through movement or getting into a form of trance." His percussion based pieces are all but industrial; the self-built instruments and repetitive chanting aim to achieve a physicality that is closer to tribal music. Van Oers has mainly performed as his solo act, Het Zweet, which was active from 1983 to about 1988. This interpretation of Marien van Oers' music by modular synth duo Driftmachine is not a blind restaging of Van Oers' original recordings, but instead actively reinterprets the piece on the level of its composition, performance, and mixing. Taking the piece's ultimate aim of 'attaining trance' as a starting point, Driftmachine accordingly works towards a new coherence that features a repetition of organic syncopations by using two racks of modular systems. The liner notes detail how this record came to be, analyze the early work of Marien van Oers, and place this project as a curatorial practice of Ongehoord label initiator Jeroen Vermandere.

Repress

Two artists who have carved out their own niche in todays techno universe join forces for their first collaborative full length. Ten tracks across two vinyls demonstrate the unique synergy between these two friends. In their collaboration they each focus on their own expertise, combining best of both worlds. Amandra on drums and Mattheis on synths - creating overlapping, constantly shifting patterns, like an endlessly captivating moire effect as result. Artwork print by Ruben Uvez. Pressed on 180g turquoise coloured vinyl, including downloadcode.

With "A LUV SO AL" we celebrate the universal connection between beings. Tune into the cosmic energy that surrounds us all and explore new territories of creativity, love and unity.

Consisting of a track by Rambadu called "Luv", a seducing vibration that merges hearts together, giving an overwhelming feeling of intoxication. "Soalte" a collaboration with his dear friend Vince Tehua, going on a shamanistic journey to the depths of our souls and a vision by Luigi Tozzi, mesmerising you into the tunnel of light.

All sleeves are hand-made with love!

Heralding the arrival of spring and the especially pertinent theme of rejuvenation, Spazio Disponibile announces their first physical compilation release, Primavera. Tilted towards the more introspective dimensions of the Spazio sound, label founders Donato Dozzy and Neel began piecing together this record with their own meditative reflections on the idea of rebirth before inviting two close friends and like-minded souls to contribute tracks of their own. AtomTM, aka Uwe Schmidt, creates a dense, detailed eerie rhythm flow, while Grand River slowly guides an emotionally-charged arpeggio to a crescendo. Matched with Neel and Dozzy's own patient rhythms and spacious arrangements, it's a fitting collection to calmly embrace a new day after an extended period of hibernation.

We are back on wax again with a very special release. It means a great pleasure for us to have one of the pivotal figures of the Madrid underground techno scene on board, Herr Unkle Fon.

Some years ago, Madrid clubscene was formed by conventional clubs in conventional locations with conventional opening and closing times and usually, conventional programming. Manuel Cano then founded Utopía Secret Society and things changed forever for the city’s underground nightlife.

Now as you may have noticed there is no club scene at all, neither conventional nor illegal, sign of the times.

Musically speaking, Manuel started as a guitarist and soon evolved into studio engineer, label owner, club promoter, record shop owner (Ater Cosmo), social agitator… and adventurous character that reflects in his productions all his knowledge of the dancefloor.

Jisatsu is a slow paced broken beat surrounded with smooth textures, soon joined by a repetitive synth line that adds the hypnotic component.

Genroku Ako follows with a cosmic approach, continuous percussive and synthetic lines run together on a fast BPM exercise obsessive, linear and mental.

On the flip side, 47 Ronin uses dreamy stabs over a relentless groove mixing liquidity with tension.

Closing the release Shuppatsu is an almost beatless exercise, just with 909 rimshots, toms and snares spiced with ethereal components

A timeless futuristic release that can wait on your record bag until things go in better directions.

Lemna deals in complex, interlocking rhythms and vapourous atmospheres with a humid intensity. The Japanese artist's previous work has appeared in a flurry over recent years on Horo, skirting the grey area between immersive deep techno, modernist drum & bass and electronica with a vividly sculpted designers' sound palette. For Delsin's Mantis series she digs into five varied but cohesive drum studies loaded with cinematic tension and an ambiguous mood, steering clear of emotional baggage to present a rigorous and all-consuming sound rooted in movement but certainly not bound by dancefloor expectations.