Techno News

Gacha Bakradze releases his third album on Lapsus entitled "Pancakes", and while the name may appear conventional at first glance, it actually contains esoteric philosophical concepts.

The Georgian producer perceives the making of pancakes -a transformative and healing parental activity that he loves to partake in with his son- as a metaphor for alteration, metamorphosis and change. A reflection that also accentuates the importance of balance during each process of preparing a simple recipe, which in turn highlights key human attributes such as patience, attention to detail and willingness to adapt to shifting circumstances.

On a sonic level, Gacha’s new album embodies precisely that: the contextual reworking of his music, while maintaining the essence of his previous work. "Pancakes" provides the typically melancholic yet vibrant genetics already recognisable in his music, but also embraces new genres, including his unique and personal take on hyper-pop and trance. It is an album of contrasting elements, where bucolic interludes make way for heavier tracks that are more suited to a club environment, an aural universe that hybridises IDM, electro, bass music and cutting edge techno, and once again demonstrates that trying to pigeonhole Gacha Bakradze's sound is a somewhat fruitless task.

Repress!

The Self Split EP features Kouhei Matsunaga at his chimeric best for Diagonal, delivering two jazzy, freehand concrète collabs with Japanese sound artist and Eartaker noise maker, Masayuki Imianishi, plus two dance-offs with himself as NHK yx koyxen and Speedy K.Gelling Kouhei's many sonic handles for a full spectrum showcase of style and pattern, the set is riddled with a singular mischievous genius at every fold and warp. The Texture Foggy pieces render a more reflective, cosmic aspect of Kouhei's character. Working with Masayuki Imianishi, he terraforms paper, radio, field recordings and synths into vivid alien ecologies of shimmering electronics and spheric melody with a highly visual quality that perhaps betrays Kouhei's talents as an illustrator. For virulent examples of Kouhei at the rave, NHK yx koyxen and Speedy K's Step Move #01 is quite possibly the wonkiest peaktime juggernaut of the year, and the acid wormhole of Early Mellow Darkness sounds like the bald - as in bad - acid offspring of Luke Slater and Ed Rush. Once again Kouhei makes us go mad at the rave, but this time with something to come home and melt into as well.

Aufgang B never disappoint with their rough sound excursions. Finally they continue the infamous Demo series with three techno tools rich in mind-melting sound design. Just what all of us have been waiting for!

Aphex Twin, Peel Sessions 2, 10/04/95: Eine von nur zwei Radiosessions, die Aphex Twin jemals aufgenommen hat. Diese "Peel Session" bestand zu der Zeit aus ausschliesslich unveröffenlichtem Material und erscheint erstmals als komplette Session sowie erstmals auf Vinyl.

Zur Sommersonnenwende 2019 nahm Warp den Onlineradiosender NTS für ein ganzes Wochenende in Beschlag, um die Feiern zu seinem 30-jährigen Jubiläum zu eröffnen. Über 100 Stunden Programm mit Mixsets, Dokus, Live-Performances und Sessions des gesamten Warp-Artistrosters von Aphex Twin über Brian Eno bis Kelela samt Gästen wie Ryuichi Sakamoto wurden von hunderttausenden Fans weltweit live verfolgt. Jetzt knüpft Warp mit der Veröffentlichung der "WXAXRXP Sessions" an diesen Event an, einer Serie aus zehn 12" Vinylen mit Radiosessions aus 30 Jahren Labelgeschichte, von frühen Peel Sessions bis zum diesjährigen WXAXRXP x NTS Wochenende, allesamt in höchster Audio- und Design-Qualität. Feat. Boards Of Canada, Aphex Twin, Flying Lotus, Bibio, Oneohtrix Point Never, Mount Kimbie, u.v.a.

Repress!

Cutting edge innovators Rashad Becker and Mark Fell re-work material from Sote’s extraordinary ‘Parallel Persia’ album alongside a killer non-album track by Ata Ebtekar aka Sote himself. Highly recommended if yr into the complex tunings and arrhythmic geometry of Dariush Dolat-Shahi, Autechre, Xenakis...
Last year’s ‘Paralell Persia’ album took the trajectory of his preceding ‘Hardcore Sounds From Tehran’ (2016) and ‘Sacred Horror In Design’ (2017) to thrilling new heights for Diagonal. Turning traditional instrumental music inside-out with computers and modular synths, he arrived at a thrilling mix of sound that stood out as one of the year’s most original and striking releases.
Wrapped around the incendiary core of ‘Artificial Neutrality’ which features Pouya Damadi’s Tar and Arash Bolouri’s Santour sculpted into fiery folk futurism by Sote, the remixes by celebrated mastering engineer and improvising composer Rashad Becker and minimalist rhythmatist Mark Fell exert incredible new spins on Sote’s originals that remain faithful to the material in their inimitable styles.
Rashad Becker’s Dramatic Reenactment of ‘Pseudo Scholastic’ combs and curdles the original into 7 segmented minutes of squirming tones and melted rhythms that, through twists and turns, come to recall Korean classical court music and Florian Hecker as much as they recall the original.
Mark Fell, meanwhile, impresses with his quadruply extended 20 minute Parallel Yorkshire mutation of ‘Modality Transporter’, where he unravels its syncopated flex in endless permutations of laser-guided pulse drops, puckered strings and choral stabs that come to sound like Autechre letting off fireworks at a Dariush Dolat-Shahi show.

a 1. Pseudo Scholastic Dramatic Reenactment - Rashad Becker (06:59)

Parallel Yorkshire - Mark Fell (19:50)

Following her highly praised "An Antworten EP" on TAL, Tentenko releases “The Soft Cave” on Couldn’t Care More. The Tokyo Wonder Girl further expands her unique universe of electronic music with four stunning tracks between oddly beguiling iridescence ("The Wave") and deliberately raw technoid clanging ("Stalactite"), developing a twisted yet very playful version of Experimental Techno, Breakbeats or whatever it is ("The Fish Stone"). Exciting stuff for Warp / Modern Love / Sähkö aficionados and everyone who dares.

Another week, another new release from the unstoppable ambient powerhouse that is zake. His latest full-length LL has two new cuts by the American maestro with remixes from a hefty selection of equally prolific producers all served up on his home label Past Inside the Present and no fewer than six sides of vinyl.

Across this immersive two hours of music, there is a mix of ambient, drone, drum & bass, electronica, and deep techno from Warmth, Aural Imbalance, ASC and Bvdub. It is yet another essential release from zake and co.

Obsessive tekno/grime experiment from London's lostdomain producer Leeway following the great great Krevet EP. Very compatible with ~160 BPM hardtek/trance. Grainy desaturated claustrophobic sound progressing to full, crisp and dreamy with alien salival textures...

Whole album varies on two or three circling themes. Super zoney and subdued and spiritual but then jumps right out of the speakers with violence.

A name already known within the Romanian minimal lovers; Sepp is visiting Praetorium imprint for an adventure in time and space under Seppsilvestri alias. The Searching LP follows Crihan’s opening album discussed earlier this year.

His latest album has been announced on Praetorium, making it the second outing for the conceptual label. As he spreads the LP over 6 tracks, a clear deviation from a familiar Sepp sound can be discerned as early as Beyond the Portal. He transcends an outer space exploration by the use of alienated sound patterns with every piece being another part of the expedition itself.

As the traveler crosses Beyond The Portal and gets Ready For Landing, A New Land is found, and one can start Searching The Area. A new life form is being found and they start Knowing Eachother, concluding to We’ll Live Together.

Not only this album is filled with atmospheric layers, but it also takes one’s mind at ease of traveling in his own chair. Praetorium is delivering stories to your ear-step and by doing so, a whole new gradient of sound can be contemplated while Sepp leaves no room for hesitation.

S.O.N.S first album, The Escape, because we all need to escape in our lives at some point pressed on non-colored, non-180gr vinyl, 2 x 12"

An O.S.T for a movie which does not exist... the story of Anna and her escape from Earth... to planet Seylanide

Including the non billboard-chart-topping singles Identity (ft. Sun) & Eternity (ft. OCB)

And yes, this time, there are deep pads, emotional landscapes, melodic horizons, mysterious moods, psychedelic soundscapes...

Also included, an order form to order some mysterious bonus records

Baby with a Halo is the newest record by Montreal based artist Ura. The songs on here feel like little organisms. While familiar genre references may shadow the pieces, from the faint ash of reminiscence comes something tactile and singular to the person who sat with the sounds and felt how they might coexist. Everything is rhythmic, the textures arrive, disappear and respond to each other in ways that could make you forget there was someone behind the controls all along. The result is full of love and ambiguity ~ choose ur own journey.

Repress!

N0!zy blighter Russell Haswell returns to Diagonal 5 years after his label debut with a spontaneously combusting follow-up to ’37 Minute Workout’ generated again from a mix of analog/digital synths and modular systems edited on a computer. It was inspired by a visit to CERN, The European Organisation for Nuclear Research, in Geneva; and dinner with Ted Nelson, whose theories of interwingularity and transclusion chimed with the direction recordings took.There are few artists who can genuinely make music that sounds like your needle and/or record is melting, but Russell Haswell is one of them. His 2nd volume of extremely kinky calisthenics is a potent example of daring to be different in a world where exponentially increasing production options are leading producers of all stripes to the exact same conclusions. But, with thanks to Russell’s iconoclastic intent, restless nature and ascetic aesthetics, he still sounds quite like nobody else, and, even better yet, doesn’t give a shit if you like it or not. For the record (this one in particular), we’re all over it like a hot rash.
Since reincorporating his early love of freestyle electro and Industrial dance music into his patented n0!ze matrices circa the 1st volume of ’37 Minute Workout’, Russell has steered that rhythm-driven style into a string of fizzy bangers for Diagonal and even applied it to his production for Consumer Electronics with typically radical results. Russell’s 2nd volume of ’37 Minute Workout’ is cut from similarly (but never the same) ragged material as the first batch, and spits, kicks and claws with equal amounts of eething, pent energy and rambunctiousness ready to jab the ‘floor in the eye or dissolve a party where needed.
Crowbarring cues ranging from the Latin Rascals to Incapacitants and Jeff Mills into 7 wickedly awkward designs, Haswell keeps his avant aerobics radically irregular as he hops from the tendon-twitching angularity of ‘The Wild Horses of the Revolution have arrived Without Knight’ to steel-hoofed clatter in ‘Central Crisis Management Cell’ and the lacquer-eating dynamics of ‘Painful
Memories From The Past Need To Be Acknowledged’, before toning a proper nasty acid special in the UR inversion ‘Dancing on the Head of an Eagle’, and seemingly sucking your brain out thru a straw with ‘Starting Something You’re Not Able To Finish’, with the dry witted, skeletal jazz-funk squirm of ‘Diplomatic Cocktail Circuit’ closing the party down in style.

London based imprint High Praise are proud to announce the last addition to their roster. Having released a slew of heralded 12”s on Capitol K’s Faith And Industry Records, Darker Than Wax & XVI Records, London based producer & sound designer Dampé prepares to release his expansive and head-spinning new 12” ‘Glow’. With previous support coming from the likes of Tom Ravenscroft, Dummy, Bandcamp, Boiler Room, Mixmag, DJ Mag and Keep Hush, Dampé showcases why he’s making a name for himself as one to watch in the UK’s vibrant Electronic music scene.

Opening with the hypnotic arpeggio of title track ‘Glow’, the EP launches headfirst into a spinning world of driving rhythms and grainy synth textures. ‘Ravey Emo Tool (Like Me)’ provides a welcome moment of cloud parting serenity. ‘Twenty Two Savanna’ utilizes twisting, contorted breakbeats colliding against trance-like euphoria inducing synth patterns and shuttered vocals. On the flip, second single ‘Clay’ brings a dose of 2-step bounce to the proceedings, with an off-kilter but rock-steady groove. Atmosphere builds steadily as the gated notes and industrial effects of ‘Through The C10’ spill out of the speakers, before ‘King Tide’ brings the 12” to a powerful close with its rippling keys and avalanching waves of low end pressure. A truly impressive offering with incredible attention to detail.

Magestic !

Official reissue of Civilistjävel!'s first, self-titled archival LP in sky-blue embossed sleeve, 500 copies.

A minor masterpiece of high-lonesome, ultra-spacey existential electronics, recorded in the ‘90s and early 2000s, the music on this album had never been heard outside the Swedish artist’s private tape/CD-R trading networks until 2018 - when London’s Low Company presented it in a hand-assembled vinyl edition of 250 with scant context or biographical info. Some people understandably thought the project might be a ruse - was it really plausible that material this accomplished and affecting had fallen under the radar for 20-odd years? Implausible, perhaps, but true nonetheless. Five years on we know that Civilistjävel is indeed the real deal: the alter ego of a discreet but by no means reclusive solo artist based in Uppsala who has for decades been quietly honing his craft without worrying about who's listening. Since 2019 he has become more visible: performing live several times in and around Europe, and last year releasing a brand new studio album, Järnnätter, on Felt Records. Meanwhile Low Company has put out four subsequent, vinyl-only volumes of archival material. These have increasingly tended towards the more rhythmic/techno-oriented impulse in Civilistjävel, so it’s interesting to return now to Volume 1: comprised of the most introspective and isolationist of his works, tapping into deep wells of northern European melancholy. It’s a music made with no audience in mind, but simply to suit itself: cold-world kosmische, intimate minimal synth etudes, bowled percussion clusters and impossibly yearning, 30-days-of-night ambient dronescapes. Created mostly using a Juno60 and Korg MS20, and home-recorded to DAT (crackles and surface-noise preserved intact), you can hear in these seven expansive instrumentals unconscious echoes of Serge Bulot and Anna SjalveTreje’s crepuscular dream-sequences, Scandinavian black metal's mist-cloaked forest-fantasies, the austere dub-techno of Thomas Köner and Basic Channel, and the gristly, consumptive concrète of Nurse With Wound and Asmus Tietchens.

Brainwaltzera returns to FILM with a brace of archive recordings in the artist's characteristically idiosyncratic style.

The collection opens with FMsquared royal wavetable mellodies A, a mesmerizing beatless composition split across two contrasting movements. Synth-focused, the first explores a more introspective tone whilst the second is decidedly more elevated and playful. Follow up good endgar showcases the artist's enviable talent for crafting rolling, wide-open IDM, marrying crisp drum machine hits with washed out pads and a resonant bassline. WSsquared royal wavetable mellodies B follows the same pattern as mellodies A, split once again into two movements. This time each movement is markedly more distinct: the first, an atmospheric, half-time dirge and the second a more uplifting and esoteric workout, with crystalline FX breaking up the composition. On LANsqape4 short_oneTake Brainwaltzera lets the drums roll out, underpinning more lush synth work with a hint of a break closing in as the piece subsides near its close. Copperfeel, the penultimate offering, is the most reduced work in the collection with a single main melody doing the bulk of the legwork, and buoyed by vocal-sounding synths. FMsquared epiloggy beauvine bonus perc version closes the collection, a pleasing bookend that sees the riff from the opening track's latter movement return - now underpinned with rolling drums.

a A1. FMsquared royal wavetable mellodies A

c A3. WSsquared [royal wavetable mellodies B]

[e] B2. FMsquared [epiloggy] [beauvine bonus perc version]
[short_oneTake]

We are delighted to welcome from the Finnish electronic music underground the artists MESAK to the n s y d e family. Mesak's dedication to experimentation and sonic exploration always excited us. With an extraordinary sense of futuristic sound designs, these tracks are a perfect example of finding the sweet spots between established and new techniques. The First track "Katosi" shows impressively how a contemporary dertroitish sound design is still able to transport ancient human feelings like hope and melancholia at the same time.

The acidic grounded "Narina" creates a dungeon space constantly hitting the whiplash snare drum, while "Post Sweat" is pouring golden Larry Heard-like warm Deep House neutrons upon you.


For the Remix, he has invited one of the most interesting artists in the field of electronic experimentation coming out of France, Poborsk, also known under his Bill Vortex moniker.


Mesak's music invites listeners to explore a range of emotions and moods, from the contemplative to the ecstatic, with a sense of sincerity and authenticity that is extraordinarily rare.

House Nation is still under one Groove.

Repress!

Diagonal whack out a demented début dosage from unknown operator Handy, who probes a queered zone between the bandy-legged funk of Cylob and the sound of Evol on a bender with SOPHIE.
A perfectly curdled addition to the label's 2018 campaign, the Smacker EP follows aces by Russell Haswell and The Modern Institute with a necessary helping of deviant cheekiness across four tracks of prodded, squeezed and fondled fonq.
Here for a good time, each track says its piece in a popwise blatz of daftness at the recommended 45rpm, which becomes only sleazier, stickier at 33rpm, if the mood takes you Up top, that results in the comically tart and ruddy juzz-fank spanking of Oink and the speedy elastic scramble of Stretch, whilst underneath you'll catch the hyper coloured splashback of Spit and the nutty Talk Box workout, Dump.Bonkers.

It has been some five years since US ambient maestro zake dropped the first volume of his Orchestral Tape Studies. We're glad to finally have the second instalment in the series available because there has rarely been music as cathartic and soothing as this on our shelves. It's made from drones, field recordings and richly layered movements of fragmented orchestral loops.

It is heavily inspired by the sound of the greatest minimalist symphonic composers and orchestras of the last 100 years and comes in several different colours.

This version is a transparent rose vinyl LP and download code.

As with the first volume of his Orchestral Tape Studies series back in 2019, zake places a real focus on tone and recurrent murmurs in these magnificent arrangements.

They are a mix of delicate repetition, sound treatments and subtle manipulations that pay homage to minimalist symphonic composers and orchestras in his own unique way. It is another adventurous and immersive listen from zake and one that comes in many different coloured vinyl versions.

This one is a coloured version, but what colour you will not know until you open it up.

You can always rely on zake to serve up some of the most magnificent ambient of the moment. He does it at an almost unbelievably frequent rate, too. This latest project is a seance part of the Orchestral Tape Studies series he minted back in 2019 and finds him paying homage to minimalist symphonic composers and orchestras through a series of pieces that focus on tone and timbre, with subtly shifting layers of carefully manipulated sounds, absorbing drones, field recordings and fragmented orchestral loops.

Soundscapes shift subtly and manipulate your emotions just as deftly.

This is a limited cassette version with several different vinyl versions also available.

It was perhaps only a matter of time before Si Begg rocked up on Central Processing Unit. Now an esteemed veteran of British beat tracks, Begg's name has become synonymous with quality club productions ever since he burst onto the scene three decades ago. In the years since, Begg has released scores of records on some of the most prestigious labels in the business - Tresor, NovaMute, his own Mosquito. As such, his debut on the Sheffield imprint whose name has become a sign of quality since it launched in 2012 seems like a wholly logical progression for one of electro's most consistently excellent producers.

Begg's casual mastery of his sound is shown off by the fact that he doesn't over-egg the pudding of the Energie Electrique EP. Rather than doing sonic cartwheels to get people's attention, Energie Electrique is characterised by the way Begg adds or subtracts elements to sturdy grooves. It's an approach which makes for a collection of tunes that manage to bring the boogie from the off while they also hide all sorts of aural Easter eggs amidst the mix.

On opening cut 'Energy', a droning start full of crisp drum programming soon develops into a head spinning electro groove reminiscent of Kraftwerk's Computer World. An acid-laced bassline waxes and wanes, modulating in intensity across several minutes as Begg sprinkles in percussion, synth blurts and vocoder vocals. It's a slyly insistent rump-shaker, and the - ahem - energy that the track provides carries through into following number 'Buckfunk Beatz'. This joint begins with a gnarly, chattering synth sound before the sizzle and snap of a broken-beat kick-hat loop locks into place. While still very Kraftwerkian, 'Buckfunk Beatz' also has the playful grizzle of contemporary practitioners like Cardopusher and Begg's fellow CPU operator Silicon Scally.

Things switch up at the start of Energie Electrique's second side. Rather than rolling out a high-octane groove, Begg delivers a low-slung mid-tempo roller called 'MS10 Machine Funk'. The programming on the kick drum here could almost pass for a dirty south hip-hop production if Begg didn't lace it with such a strangely compelling use of the oscillator - sometimes squealing, sometimes squawking, sometimes wobbling, always thrilling. The mix flecked with chordal stabs, 'MS10 Machine Funk' is a masterclass in combining danceable beats with the quest for thrilling sounds that is so often the mark of a truly musical mind.

To round things out, Begg brings us back to the beginning. 'Electro P1 B' is a delightfully dystopian bit of Drexciyanism. Piston-hiss drum programming, nervy atonal synth nodules, some cavernous reverb deployment - this is a body-mover if ever you heard one, and one executed with all the style, aplomb and panache you'd expect of Begg.

Si Begg takes his Central Processing Unit bow with the Energie Electrique EP, a quartet of club tracks to rival anything in his vast and vaunted discography.

RIYL: Kraftwerk, Silicon Scally, Drexciya, Cardopusher, Annie Hall

The Chicago-based artist, real name Andres Ordonez, has been a fixture in US house music circles since the '90s, releasing a string of EPs on labels like Sistrum, Semantica and Sound Signature. Theo Parrish's outlet, which last year put out a live mix from Ordonez, will handle his first album.

A digital twin is a computer system programmed in such a way that, receiving the same inputs as the physical object or process it is a twin of, it provides the same outputs.

Characteristics of digital twin technology
1 Connectivity
2 Homogenization
3 Reprogrammable and intelligent
4 digital traces

«There is no light without shadows and no fullness of mind without imperfections. Life requires for its realization, not perfection, but fullness. Without imperfection, there is no progress or growth.»

Long-awaited album by the German deep house legend.

Umwelt knows his craft. From no-nonsense acid-drenched electro assaults to more thought-provoking works, the Frenchman can shred speakers as well as soothe souls. The two sides of the New Flesh boss' sound combine as he returns to Shipwrec with the five tracks of Collapsar.

In the epic Galactic Empire, beats are lashed with punishing acid rinses as a bold cinematic backdrop takes form. Collapsar maintains the grandeur, broad expansive chords stretching above a plain of tight percussion.

A frigid stuttering synthline introduces Reflectivity, a line that breaks into a horizon-searching melody punctuated by crisp rhythms and arcing keys. The immersive quality of Umwelt comes to the fore in the sweeping soundtrack of Redemption Ark. That calm is cracked wide open with the frenetic finale; Day Zero incises from the outset, drums cutting into bulwark of bass before a barrage of keys attack.

Run by Gabriele and Paolo, Italy based newborn label Sunny Crypt's first output is a reissue of the sought-after "Random Rooms" album by Danish poets and multidisciplinary artists Niels Lyngsø and Morten Søndergaard. Both attending the Literature university in Copenhagen, they were linked at first by a mutual passion and fascination towards music - or rather "sound" - even before unveiling each other that they were writing poems. Niels and Morten started bringing their solo homemade DIY sound experiments together, giving birth to a wide genre-spanning album that ranges from slow tempo mutant disco to folk inspired synth-pop to sound collages and more musical compositions that is fairly complex to put in a precise musical genre box.
First released in 1992 on the same day as their debut poetry collections, Random Rooms should be a house or a flat or an exhibition space that you could walk through and in each room you would come across something new. A fusion of genre and bits and pieces of culture and play.
A kaleidoscope of past, present, and future.

'In Thy Domain' is a concept album and audio-visual work by British artist Fred Mann. The 12-track, double-vinyl album is a cinematic voyage tracking the evolution of mankind, key themes of human advancement, technology, life after AI, and beyond.

The album traverses multiple genres - including ambient, electronica, broken-beat techno, and experimental drone - to create an immersive musical experience that mirrors the dynamism of human evolution.

The work aligns with the latest scientific knowledge, drawing inspiration from the tipping points of human civilization and the defining timelines that have shaped our species. The music is complemented by a series of artworks and scrapbook images, visible in the vinyl gatefold, which symbolize each track and its corresponding era.

Many of the tracks feature additional production, synthesizers, flute and clarinet by Chris Taylor (Grizzly Bear / Warp), and additional production and drum programming by Inland (Ed Davenport / Counterchange).

Fred Mann premiered ‘In Thy Domain’ live in Prague, October 2019, alongside Alessandro Cortini for Dietl Archive x Polygon.

The album version comes presented on heavyweight double vinyl in a gatefold sleeve designed by the artist himself.

Superb EP exploring the Mental Acid with another view... A view where the kick dictat is ejected.

Indus Acid, Electro, Breakbeat, melodies, rhythms creation, beat digging... Everything here is fresh and unheard before on wax.

Wirski’s debut on MISBHV Recordings offers a nuanced narrative operating in its own genre of Eastern European rough-edged club melancholy.

MISBHV004 opens with Inside The Dark Echo – a claustrophobic, stifling, relentless, sensual dance with desire. Darkroom complexity with heavy surface tension built on an EBM undercurrent flirt with subtle psychedelia and traces of acid that slowly firm up their multi-layered grip through its running time of six and a half minutes.

Warszawa paints a stripped-back, tantalizing picture. Opening with a brutalist, militant drum programming and surprisingly spacious, warm bassline, its rigid rhythm, tightened up by a repetitive, cold breath mantra eventually opens up to bright, shimmering synth flickers evoking olibanum – the sacred scent of altar candles. Warszawa is looking at the multilayered melody of its landscape – from eerie Soc-realist blockhouses, through neon-lit, seedy strip clubs of the 90s to opulent sacral architecture.

Warm Waters Of Eternity subtly weave a cinematic, Carpenteresque soundscape with a sense of overpowering, ecstatic innocent euphoria that invokes a dream of an early 1990s rave deep in the dark woods of Poland.

Please turn down the volume when listening to A2 (YB)

This is techno, but not as we know it from the Vigenere. Sparagamos (a fitting name given the word originally means to render, tear apart, or mangle) is behind these freaky beats but we nothing more about the artist.

Suffice it to say they sure do have a fine grip of their studio and can manipulate sound in some thrilling ways. The opener is a warp-speed warehouse banger with distorted bass and manic energy, track two explores sludgy acid techno underworlds and track there is a twitchy cosmic workout with serene pads.

'Track 4' is a world of dystopian robotics while the flip side offers tripped-out, double-time dub techno, more acid intensity and experimental mind melters with exceptional sound design.

Dropsonde was originally released by Touch (UK) in 2006. This is a reissue with seven previously unreleased recordings.

Widely regarded as one of Norwegian electronic music's most important artists, Biosphere's Geir Jenssen career spans nearly two decades, several albums, lots of remixes, various sound installations, commissions, soundtracks and even the odd Himalayan summit.

You may recognise his work without knowing it, so frequently does it crop up on TV trailers and idents. In the early 1990s he was a pioneer of so-called 'Ambient Techno', but since then, he has refined his sound into something more magnetic and enduring.

Dropsonde' isn't a soundtrack like the interwoven 'Substrata' nor an episodic journey in the way that 'Autour de la Lune' is. Here Geir Jenssen is pushing new directions towards the jazz colours of Miles Davis and Jon Hassell, whilst re-invigorating the pulse and projection of his signature sound: a hypnotic combination of pleasure and dread.

The spatial aspects some have dubbed "Arctic sound" but it summons strong feelings, or as Exclaim from Canada put it, "in order to climb higher, you must first go deeper". Jon Savage adds: "As with all of the Biosphere albums, the music draws you in and makes you want to listen and feel. Jenssen's work acts on a very emotional level, one that encourages you to drift away into a haze of images and scenes brought to you by the music, where spectacular beauty hides unseen danger. Intense and moving, but comforting and soothing at the same time."

A 'dropsonde' is a weather reconnaissance device designed to be dropped from an airplane or similar craft at altitude to take telemetry as it falls to the ground. It typically relays information to a computer in the dropping airplane by radio. The fall may be slowed by a parachute. Information collected by a typical dropsonde may include wind speed, temperature, humidity, and atmospheric pressure.

In May 2016, Trevino a.k.a. Marcus Intalex released his acclaimed debut album, 'Front', on his own Birdie label. Almost exactly seven years on, the follow up album 'Back' will be released posthumously, marking the final Trevino album. The release date is scheduled for the 26th May to mark the six year anniversary of Marcus passing (28th May 2017).

Although most of the tracks for 'Back' were made during Marcus' time in Berlin, he moved back to Manchester in early 2017 to make the most of his home studio. The Trevino moniker was an output for Marcus to return to his love of house and techno, inspired by his experience of working in record shops from a young age where he would be receiving records spanning across Chicago house and Detroit techno - most notably referencing the Belleville Three as a key influence.

The producer, named after his favourite golfer Lee Trevino, has loosely based the two-part album project on the 'Front' nine and 'Back' nine holes in the sport. This theme runs throughout, with the artwork based on the plans for Hillside golf course.

Mysticisms continues its global search for amazing music, hitting gold again with an EP of four previously unreleased house meets IDM with a dreamy edges by Romania's HAN aka Dan Handrabur, culled from early studio recordings between 1991-95.

After getting into record store culture he began building a studio and eventually gave up studying in favour of production, relocated to Vancouver, Canada, where his debut release (as X Drone with Adham Shaikh in 1993) began to establish Handrabur's role as an integral part its electronic scene. Appearances with Harthouse, Exist Dance, Eye Q Records and many more followed, plus collaborations with the legendary Phil Western. The four tracks here haven't aged at all, with nimble beats, action-packed arrangements and dreamy atmospheres, 'Give In & Resist' coming on like Rising High-era Mixmaster Morris crossed with the playfulness of Air Liquide, and 'Phantasme' revelling in the same cross-rhythmic fun that informed The Black Dog's classics.