Techno News

“Clockworks”, composed in the 1970s by computer music pioneer Laurie Spiegel at Bell Laboratories on the GROOVE digital/analog hybrid system, is a mesmerizing and mathematical polyrhythmic number. Machineries of Joy is proud to present two remixes of this seminal piece of electronic music.

On the A side, SØS Gunver Ryberg turns in an intense and atmospheric interpretation of the original, while on the flip side, David Morley crafts an elegant, focused and hypnotic excursion.

Humanoid strikes back on De:tuned with a remastered version of the pioneering 1988 crossover UK number 1 Dance Single "Stakker Humanoid". This major influential UK acid house cut has been breaking down UK culture barriers since its original release. Humanoid's music was also used in Stakker "Eurotechno", now housed in The Museum of Modern Art located in New York. De:tuned have invited personal favourites Autechre, Luke Vibert and Mike Dred to rework the new and uncompromising update "sT8818r" (previously released on DE:10.08) to complement the classic original. Prepare to have your mind blown once more!

The impeccable Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. Stay tuned!

clear magenta vinyl
Humanoid strikes back on De:tuned with a remastered version of the pioneering 1988 crossover UK number 1 Dance Single "Stakker Humanoid". This major influential UK acid house cut has been breaking down UK culture barriers since its original release. Humanoid's music was also used in Stakker "Eurotechno", now housed in The Museum of Modern Art located in New York. De:tuned have invited personal favourites Autechre, Luke Vibert and Mike Dred to rework the new and uncompromising update "sT8818r" (previously released on DE:10.08) to complement the classic original. Prepare to have your mind blown once more!

The impeccable Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. Stay tuned!

Banging breakcore and speedcore acid experimental stuff... Crazy shit coming with stickerz and a poster !

Japanese industrial-experimental-synth outfit, composed by Tommi Tokyo (synths, drum machines, vocals) and Sayaka Botanic (violin, sampler, tapes), offers a unique mixture of dark minimal synth and avant-noise with striking visuals and stage performances. group A carries on the very breath of early pioneers such as Throbbing Gristle, Cabaret Voltaire and the Japanese underground scene from the early 80’s.

This mini album was written and recorded through the winter of 2017 and 2018 based on the recordings of some improvisation sessions at home band's studio since they moved to Berlin in early 2016. The main inspiration was focused on the ongoing threads from the collapsed ecological system and the injustices of Mother nature and animals. “Circulation" was intended to capture their daily concerns and draw the destructive human behaviour through their sounds. The tension and the whole vibe is very different compared to previous works. These songs are purely made for home listening.

“Circulation” was originally released in mid 2018 on a very short run and sold out after just a few weeks. This new edition includes, besides all original tracks, an unpublished piece entitled “Deform” and a breathtaking remix prepared by the NYC based musician Hiro Kone. Limited press of 350 copies with a complete new artwork.

LANK002 is a compilation that gives a future listen of what’s to come for the new Belgian label. Side A starts out slowly whilst side B highlights the up-tempo vision of the label. The release focusses on different electronic styles but it also takes a look beyond. Every track, put aside the exception, is performed and recorded in one take. The cassette is numbered, limited to 50 copies and comes with a download code, including some extra bonus tracks.

Three years after his last studio album, Orson Hentschel returns with a multi-outputted visual album. Heavy Light, the title of his fourth album project, consists of three parts - a 3-channel film installation, a visual live-performance and the album itself. Hentschel expands the format of the conventional album to an audiovisual experience by merging elements of film, dance and music in a synthesis of arts. The project evolved in the time of Corona, which first affected him visually when the city (Berlin) turned into a ghost town during the first lockdown. Light became the most vibrant element in the city, which influenced both picture and sound. Metallic, sometimes harsh and electrifying, surroundings of the urban life are landscaped into eclectic pulses.

300 copies only

NCA frontman Brassfoot releases his first, eagerly anticipated full length project. ‘SWEAT’ aka NCA 005 delivers 9 volatile club tracks, perfectly curated for peak-time DJ sets, or sweat inducing gym sessions alike. Showcasing his signature sound, Brassfoot opens another chapter of this ever-growing NCA story.

Lost In Space is an exotic music excursion into the unknown - discovering the sectors of Outer Space and encountering unexpected occurrences which is to be the objective, narrative and attraction. Like the architecture and habitation structure of a jungle, life exist and persist everywhere, but only by the degree of our 5 basic human senses.An extraordinary musical creation by the Electronic Music and artist Jeff Mills, he conceives Lost In Space with the future of mankind's advances in Space travel and colonizing other planets in mind. It is a reach to grasp for subjects like the other types of time", "the crashing of Worlds" and "the illusions we create" in our minds and what we believe to reality. Fusing Classical and Electronic music is the only way to play out a scenario of such magnitude of possibilities.The music was created for the classical orchestral version commissioned by Orchestre National Du Capitole de Toulouse, France. The concerts are scheduled to be in early April 2018.

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.

'AGAMA' is the music project and alter ego of singer, composer, producer and multi instrumentalist Cassandra Gurling. Born and raised in Birmingham and now based in London, Cassandra is a classically trained vocalist and choir director.

Her sound is classic yet contemporary, a dense mix of styles in which her operatic and earthy voice is simultaneously rooted and floating above - soulful, jazzy, slightly psychedelic with touches of electronics and a dramatic twist. Think a mix of Rotary Connection and Four Hero with a touch of musical theatre and you'll be approaching the range and depth of these 4 amazingly fully-formed, exploratory songs.

This rare fusion of musical and cultural influences within a socio-political context mirrors Cassandra’s mixed Anglo-Jamaican upbringing, where she learned to sing within the Church and Musical Theatre schools in multi-cultural Birmingham.

* Natural patterns of organic life make the most efficient use of space and surface area and in permaculture design one observes natural patterns in a landscape and plans details accordingly. Taking a self-occurring pattern like the veins of a leaf, contour lines, or the spirals of water and letting that guide interactions with the surface of the earth. The ethos is to work with natural flow and processes rather than to impose.
* Mirroring this idea From Patterns to Details draws from the sense of a deeper underlying order. It sees continuity between environment and individual, continuity between external bodies and the internal emotional landscapes that music can communicate beyond the affordances of language. The album embraces technology as something that is not in conflict with the organic processes of nature. Technology is treated as life in a different state. Human beings are gardens in a different state; all temporary forms of the same thing. From Patterns to Details imagines states of alignment with all, and harmonious design, a complete integration between personal and external systems whether organic or technological.
* Fis composes physical, spirited, exploratory electronic music inspired in part by his work as a permaculture designer. Initially developing his craft on the sound systems of his birth country New Zealand, he went on to a string of critically acclaimed releases on Tri Angle Records and Loopy in recent years.

* Continuing Subtext's exploratory electronics and devastating sonics is the expansive Ego De Espinhos, the debut full-length from twenty-two year old Porto, Portugal-based artist Gonçalo Penas.

* Described by Penas as a series of 'self-exorcisms,' Ego De Espinhos is the cathartic outcome of a highly introspective process. Shaped by opposing forces and instincts, the LP touches on themes that are at once intimate, yet omnipresent. Splendor confronts destruction; id confronts super-ego.

* Created solely with digital instruments designed and built by the artist, Ego De Espinhos is the result of Penas' improvisations. Tracks such as 'Introdução, Umbigo' and 'Tecto Falso' were recorded in one take, and evidence a stark, dramatic emotional palette.

* The release begins as Penas chooses to reject rigidities, customs and conventions of experimental electronic music. Of his process, Penas says: 'Personally, I feel that creation should come from a completely free act of will. It is a place where there should be no rules, no expectations, no rights and no wrongs.'

* In Ego De Espinhos, Penas turns away from his own technical background, and towards a journey of forward experimentation. This follows his education in Music Production and Technologies at Porto's School of Music and Performing Arts. For the first time, he finds the freedom to articulate himself sincerely, unearthing beauty and acceptance amidst wreckage and devastation.

Subtext presents ​Hydrangea, the debut album from writer and artist ​Holly Childs and artist ​Gediminas Žygus formerly known as J.G. Biberkopf.

Initiated in 2017, ​Hydrangea grew out of a series of performances emphasising conspiracies and the designer realities that they generate. Navigating a tangle of digitally induced subjectivities and relationships, ​Hydrangea sees Childs & Žygus amidst a continuously evaporating world in which narratives dissolve, leak, fold in on themselves and loop.

Childs & Žygus ask: As individuals are siloed online, can rifts in reality ever be reconciled? Is history a form of science fiction? And are narrators ever reliable? The process of creating ​Hydrangea was defined by the search for a form to bind fiction, poetry, and musical experience. Its narrative is influenced by technical instructions, lectures and whispered conversations, in which slippage and floating focus can create new meanings in the listener that weren’t intended by the speaker.

Childs & Žygus employ a musical language that layers their cumulative practices and experiences. The compositions are cinematic and spatial, working with the illustrative qualities of Disneyesque string melodies and taking cues from Maurice Ravel’s impressionistic piano works.

The work is also influenced by both artists’ lifelong experiences of rave culture, beginning for Žygus during childhood in newly independent Lithuania, spending time juggling Disney and happy hardcore cassettes on the family stereo, and for Childs as a preteen in Australia, tagging along with her sisters to doofs and warehouse parties. Initiated while the artists were both working between Amsterdam and Rotterdam in 2017, the work also draws on Dutch gabber music.

Hydrangea’s development has been influenced by collaboration with artists and filmmakers ​Metahaven, who created the album art.
Holly Childs is a writer and artist. Her research involves filtering stories of computation through frames of ecology, earth, memory, poetry, and light. She is the author of two books: ​No Limit (Hologram) and Danklands (Arcadia Missa); and has presented her work at ICA (London), Stedelijk Museum (Amsterdam), Trust (Berlin), Elam School of Art (Auckland) and more.

Gediminas Žygus is an artist working within the fields of sound, documentary and performance. Their practice assembles a spectrum of influences deriving from architecture, ecology, ethnography, science studies, and media theory. As J.G. Biberkopf, their releases have found homes on Knives and Danse Noire. Žygus has performed at Barbican Centre (London), Berghain (Berlin), Sonic Acts (Amsterdam), and Centre Pompidou (Paris), among others.

New single on KÄFTEN with two slow-twisted experimental obscurities!

HEXAGON is the new album on More Than Human by duo Stephen Wood and Scott Gubbels aka Kensington Gore. It's an immersive 6-track album full of propulsive electronics, eerie sci-fi soundscapes and Kosmische chug.

For all it's dark eldritch tones and dystopian leanings 'Hexagon' is a curiously optimistic record. There's darkness in the anxious synth stabs for sure but also wistful melodies and subtle shades of instrumentation - which seems fitting as the band are named after the fake blood used in old Hammer horror films, it's an intriguing combination. Like an ancient curse whispered in a space station.

One of the most slowly riveting psych LPs we've spun in a while'
THURSTON MOORE (on 'Kensington Gore')

Stacked Up At Zero is the new full length instrumental LP from London based artist / musician Ross Downes and is a carefully crafted record fluctuating between calm solace, foreboding tension and ambient longing. Fundamentally an electronic record, synthesisers create a darkly ethereal setting, evoking entranced contemplation that regularly gives way to more shadowy territories. From comforting to concerning, it captivates through an inventive combining of genres.

Stacked Up At Zero is an intensely intimate and personal record. A place that Downes built to occupy, wander and give voice during a difficult year. It’s a record of psychological landscapes, between truths that need comfort and fictions that give escape. The influence and love of cinema permeates the record. Downes builds a world, creating an environment influenced by soundtracks, potential narratives and a propensity for the dramatic.

Evocative sound design and field recordings provide atmospheres that accompany, place and shroud the melodic and compositional preoccupations of the record. The influences, from a multitude of approaches and styles, contribute to a dynamic collection of shifting densities that reference minimal, ambient, industrial and contemporary classical music.

Drones shift and fluctuate whilst a myriad of synthesisers propel, distort and drift. Expansive groaning bass frequencies lay ominous foundations for progressive lines, vast sci-fi pads, digital ticks, sampled strings, disembodied voices and sparse percussion immersed in cavernous echoing reverb.

Recent musical activities from Downes have included compositions for large European art installation projects. During 2019 he contributed a piece to Mischa Kabul’s long running installation Res-o-nant at the Jewish Museum, Berlin. In 2018 he composed a lengthy work for his collaboration, with Cologne based, artist Sebastian Freytag on an ambitious light/audio installation titled Sygnal for The Museum Slaskie, Poland. He has recently completed work on soundtracking Turner Prize winner Laure Prouvost's Sydney Bienalle exhibition which opens this Spring.

7x12" LP. Herdersmat - Morderstwo - Rotterdam.

Aurous, Irreligious, Meandrous

Tresque continues to strive towards his unique hedonistic feel for progression and tribalism on the Aindanão EP. His minimalist techno sound is defined by unlikely shifting patterns that aim directly into your muscle memory.

After his Lensomni EP and Geissle EP on -OUS and an EP on "Care of Editions", Tresque shifts his pace and delivers two hypnotic dancefloor tools on the Aindanão EP. Coming from an extended artistic career as improvisation and experimental musician, Geneva's D'Incise returns to his roots under his moniker Tresque. Inspired by restless dances and the sensation of seemingly endless potential, he explored the interconnections between advanced Techno, Dub and Minimalism with a polyrhythmic approach. Tresque adopts an attitude of purism to formulate an own take on the nature of traditions and rituals.

Proprietary rhythm: Vector Rituals sees techno polymath Stefan Goldmann constructing polymetric rites of percussion. Synthesized from the ground up, timbral characteristics, metric properties, dynamic expression and microrhythmic phrasing are shaped by the interactions of layered control voltage functions. The result is an assembly of abstract dances ranging from the intricate to the powerful.
Near-humanoid behaviour emerges from liquid patterns, laid out and brought to life by the freewheeling encounter of modular waveforms and snappy envelopes. Sounds evoke metallic textures
– ringing, scraping – and group into virtual shapes from tiny spikes to vast surfaces.
Some of the parametric relationships employed are as loose as to imply chance drifts. Others lock in with strict regularity as found in the 13 vs. 17 polymeter pattern of opening track 'Nayba'. By contrast,
in the strictly repetitive yet highly asymmetrical sequence of 'Yukagir' each metric step has its own uniquely irregular duration. The center piece of this collection is 'Ayon' with multiple autonomous and
highly agile timelines. Its constituent layers break away in radial fashion and fall back together at widely spaced points of congregation.
All compositions herein present powerful proof of the unlimited capacity of electronic music to yield new principles of organisation and to solidify their expression into clear-cut gestalt.

GLOW IN THE DARK Vinyl (incl. poster & download)

Emerging as one of the most vital producers from South America to Europe, Filmmaker is back on Veyl with the new album, Fictional Portrayals. Recorded in his home country in Envigado, Colombia, the
release delivers 8 tracks of raw, body pursuits proving yet again that he remains at the forefront of EBM, industrial, wave and beyond. While always carrying the producer’s soundtrack influenced sound, the LP kicks offwith the haunting 'All About That Pyramid' moving next to the title track’s driving energy while then shifting to the more cerebral programming of 'Possession' ft. Bad Faith Actor.
Things are just picking up with club decimators like 'Splitter' and 'Immune to Propaganda' while also switching moods with the more sinister 'Orphic Eggs' and the mesmerizing 'Continuity'. Rounding out
the release is the cold, emotional ride of 'Far From Prospect', leaving us with a sense of dread while simultaneously questioning just what is fact and what is fiction - something we never quite know in today’s multi-dimensional existence.

Ellen Allien – eine der leuchtendsten Techno Botschafterinnen Berlins – stellt uns stolz ihren letzten Ausflug in voller Albumlänge in die Gefilde von Underground Electronica vor. Berstend vor kreativer Energie folgt Ellen Alliens AurAA ihrem 2019 Release Alientronic und ist nun ihr drittes Album innerhalb dreier Jahre. Pur und emotional nimmt Auraa dich mit auf eine Reise von der Realität in eine elektrofizierte Fantasie und erforscht die Vorstellungen ungesehener Energien, die unseren Planeten im Bann halten.

Hotel Paral.lel, released in 1997, marks the full length debut release from Austrian Christian Fennesz, originally released by MEGO, following the twitching drone as found on the 1995 EP Instrument, also included in this deluxe 2LP reissue. Once launched, Hotel Paral.lel was to instigate a sublime exploration of a wide variety of forms, from formal abstraction to shimmering drone around to ground zero glitch pop.

Recorded just before mobile computing devices became omnipresent it was an investigation into the sonic possibilities residing in guitar based digital music. Sz launches the career with a constantly buzzing sound that resembles a fax machine encountering a G3 laptop for the first time, realising the game is up. Nebenraum is the first foray into the style for which one would attribute to Fennesz. A glacial drone unexpectedly morphs into a gorgeous melody and microscopic groove. Adding pulse and melody was hearsay in the radical end of experimental music up until this point and with this single gesture, everything changed, for everyone. Blok M nails this trajectory home with a straight up 4/4 beat. Such rhythm also features on Fa with a euphoric mix of a thudding beat, sharp splinters of noise and a devastating exploding melody. Repetition plays heavily through this album as the hyper metronomic beat on traxdata lays a bed for all manner of buzzing electronics. On the closing “Aus” we see a glimpse of what was to come in the future works of Fennesz, an experiment in popping, bubbling pulse pop. A far more darker and experimental work than Fennesz’ subsequent work. This is an exquisite radical field of freeform noise, sliced techno beats and subtle ambient texture all coming together to create a timeless work. There’s little out there in the world of music, still to this day, that sounds remotely like Hotel Paral.lel.

With a radical reinvention of music Hotel Paral.lel is an essential addition to collectors of pioneering music in the late 20th Century and sounds as enthralling today as it did to the shocked ears occupying 1997.

Remastered by Stephan Mathieu.

With the new SERWED III on Flaty's promising ANWO RECORDS, Flaty and OL set out to explore and celebrate the altered visions of today's mundane futurism with a kind of keen aesthetic intuition that could only be enabled by the vast volume of their listening, production, and teaching experience.

Following the first two SERWED albums on Asyncro and West Mineral Ltd., the current fruits of the flourishing long-time collaboration between OL and Flaty comprise an oddly coherent kaleidoscopic set of free-wheeling journeys across varied pseudo-desolate soundscapes full of anomalies and sometimes thrills. Beyond the now seamless blending of the artists' individual styles, a whole bunch of other boundaries get blurred on the record, whether it be between the human and computer data processing algorithms, originality and referentiality, anxiety and euphoria, signal and noise.

SERWED III postmodern world is the one where the orbital space is just another littered parking lot, neural networks are appreciated mostly as a source of absurd imagery, and delivery drones are used as designer drug mules. The sonic collection is fittingly complemented by the visuals based on Regula Bochsler's The Rendering Eye, an art project capturing the "erroneous" yet "picturesque" renderings found in the 3D world of Apple Maps.

On his sophomore album “ITSAME” on FILM, Brainwaltzera navigates the turbulent waters of personal crossroads with cautious optimism for an uncertain future.
Drawing comparisons with his debut full-length Poly-Ana , an equally introspective album that explores broader conceptual themes, the artist hesitantly describes the new record as a very personal affair. Acting as a kind of “journal” of the last four years of his life, each of
the 17 tracks directly relate to events and experiences that transpired during their composition

Jessy Lanza has always made music that perfectly suits the mood - whether it's the heads-down trance of the dancefloor or that hazy, post-club bliss. It's no surprise for an artist that takes electronic music's most intoxicating sensibilities and effortlessly reimagines them as experimental pop and R&B. The Canadian singer, producer and DJ from Hamilton, Ontario, has trodden an inspiring path which led to 2013's boldly minimalist debut Pull My Hair Back, released on revered UK label Hyperdub. Gorgeously complex follow-ups Oh No - shortlisted for Canada's prestigious Polaris Prize - and 2020's All the Time crowned her as a singular talent in the left-of-pop sphere. It's with this genre-bending approach that Jessy Lanza presents her entry for the DJ-Kicks series - a sprawling, club-indebted odyssey that draws you in closer and closer with each listen. Recorded this summer, the mix is an incisive snapshot of her emotional landscape during the past 18 months. In 2020, with nothing but a van, a few personal belongings and her musical gear, Lanza and her partner relocated from New York City to the Bay Area to ride out the pandemic. A change of scenery, buoyed by the slower pace of their new home, gave her a fresh perspective during a worldwide screeching halt. Jessy Lanza's DJ-Kicks mix also arrives as a divine stroke of timing. As the world slowly starts to re-open, it's a portal into the ecstatic energy of the dancefloor; an emblem of genuine healing - both personal and communal - that transports listeners to a state of pure euphoria.

This release is coming exactly 3 years after Geinst ARTS, Accents Records and Inerit discussed about a new place where they could converge musically and artistically.

A place to propose spontaneous and borderless music by avoiding any kind of standardization.

This place is now called ITAE and we are really proud to present the first release.

ITAE001 is a first great demonstration of the esthetic that ITAE wants to share and develop over time.

All the artwork had been thought and produced by Clemence Rivalier.

Miss Kittin & The Hacker are the Electro duo of Caroline Hervé and Michel Amato from Grenoble, France. The pair met during the early 90s at a rave and soon after bought turntables and began DJing. In 1996, they started writing music heavily influenced by 1980s synthpop and post-punk bands like Fad Gadget, DAF, Liaisons Dangeuresues, and Yazoo, as well as Italo Disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. Upon hearing their demos DJ Hell signed them to his Munich-based International DJ Gigolo label and released their first 2 EPs in 1998 and 1999. Their debut album 'First Album" was released in 2001 followed by . in .

Lost Tracks Vol. 2' contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused 80's European New Wave/Italo Disco with 90's Detroit Electro acts like Le Car and Dopplereffekt. By utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. Their studio set up at the time was a Korg MS-20, Roland SH-101, TR-606, TR-808, Siel DK80, and Boss DR-660 drum machine. The songs are direct, spontaneous, seemingly improvised in places. Miss Kittin sings about falling in love in the new millennium, snuff movies and controlling the unknown trip to death, all in her cheekily derisive French accent.

All songs have been transferred from the original DAT tapes by the band and remastered for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996. Each LP includes a postcard with liner notes from Miss Kittin and The Hacker designed by Eloise Leigh. As Miss Kittin says of these demos, We were naive, innocent, adventurous and we didn't expect anything in return'

TRIP SHOW’s album The Far East Is The Near West And The Wild West Is The Near East was born of “1984 Waikiki teen clubs to DJing the San Francisco barscapes, techno happy hours and afterhours”. The Honolulu-based producer (AKA John Keaka Friend) has 25 years of electronic music creation under his belt via remixes and releases through Cytrax, Losonofono Records, Select Cuts, Nude Photo Music, BSI, and eponymous label Trip Show. In the words of the artist, “I tried to make the kind of record that wouldn't leave my bag. Bonus beats and melodies, tracky and dubby post-house. Positive, but not for the weekend warrior. Influenced by Pépé Bradock, the Easy Street label and bleep techno.”

Glimmering medieval weaponry forged, polished and brandished, Zhenya Lavrinov arrives to take us back in time and beyond the stars. As LVRIN, he appeared opposite Maoupa Mazzochetti on a split EP for Arma – but one pockmark in a scattering of machine-powered ruminations for respected, proudly underground labels – and now he returns to wield a new alias across five tracks of ominous, night-creeping sonics.



The tracks making up Milky Way were recorded by Bryansk-based Lavrinov between 2013 and 2020, reflecting a side of his musical demanour not betrothed to the demands of the dancefloor. Golden Axe is far from ambient though – this is still resolutely rhythmic music spoken by specifically sculpted synths and powered by purposeful sequencers.



There’s a cosmic theme at play here, but ‘Moon Influence’ speaks as much to ancient rites and man’s obsession with lunar forces as any space-age sci-fi symbolism you might associate with gurgling electronic patterns. ‘Rhythmbox From Space’ may be brimming with analogue freakery, but it’s also locked into a rhythmic mantra which tracks back to the dawn of humanity.



Cementing the philosophy of the record visually, Milky Way comes clothed in a striking artwork by Alina Vinogradova. Lavrinov’s Golden Axe seems to hail from this very space depicted on the cover, speaking through time-honoured tools and revelling in universal mysticism as it opens a new chapter in his darkly seductive, psychosomatic music.

Described by his peers as a keystone in ambient-electro, Datassette is a bastion of the underground and one of alternative electronic music’s most exceptional and enigmatic talents.

His extensive and diverse discography spans two decades and includes a plethora of albums, EPs and remixes for independent record labels, including: Ai Records, Apollo/ R&S, Wall Of Sound, CPU and Shipwrec. His work and creative output also extends to the design of music libraries for TV and radio; producing sound effects for 8-bit video games; working as a graphic designer and co-running the Misc label.

Datassette has never been shy of creating complex, addictive and emotive music and this magical music formula is replicated on Sentinel, his new EP for Lapsus Records.

As is emblematic in his long-standing career, Datassette demonstrates a healthy non- conformist approach to conventional labels and pigeonholing. By using a combination of powerful vintage hardware and latest generation digital techniques, the British producer continually manages to redefine his sound. This new four track EP sees him fuse dub, electro, braindance, ambient, experimental electronica and even abstract hip hop.

Clear Vinyl

Early last decade, Brooklyn based .thejass. created two, out-of-body, hour length recordings as part of the Slabs of the Tabernacle mix series, with the now legendary, 'Murdered Out Techno' Volumes 1 and 2. Several years on .thejass. returns with their full-length debut LP entirely in keeping with their 'Murdered Out' sound. Putting the listener in an almost sleep paralysis state, without any sense of time or space, the only constant being a pulsing throb from within. This record is a mesmerising and at times terrifying experience which immerses you deeper with each listen. Transparent crystal vinyl, 200 copies.

KONTRAST ascends to cosmic spheres with their fourth release. This time it’s Italian producer Luca Piermattei’s cloudy sonic movements venturing effortlessly into the quirky universe the KONTRAST crew is known for. Delivering a four track EP, Piermattei’s misty sounds merge excellently with the radiant realm of the Belgium collective. Expect a bizarre ride through a strange yet contagiously fresh auditory world.

With the VOI 029 we are presenting the UK-based Mercy System, also known as Adam Crawford. Growing up in a small town on the outskirts of Manchester, he brings a dark, swung, early dubstep influence to his beats. With "Recognise" Crawford now lands his debut EP on Voitax, a personal project that represents his patiently accumulated skill set in sound design, as part of an excellently produced dystopian UK Bass four-tracker. This powerful package combines high-definition sample work with outstanding arrangements. With the right eye for voice shaping, crowned with beautifully placed drone delays, dense bass, and broken drum patterns, this EP also explores the realms of Dubstep nuanced with UK Garage, Grime, and Dancehall, while keeping its unique character. We are thrilled to hear more to come from this newbie among the UK ass producers.

"When you cut into the present, the future leaks out" William S. Burroughs. Third Ear are proud and excited to release a new Brendon Moeller project exclusive to Third Ear... Ultra Random Analog Orchestra. The project kicks off with 13 tracks released on vinyl over 3 individually released 12" and a digital album with 16 tracks. The music ranges from deep, wide-screen Techno to Ambient and beatless, that pushes the limits of the sonic palette. Artwork by The Designers Republic. Brendon says, "The ability to sculpt an audio collage in realtime employing techniques of randomness is one of my favorite pursuits using a eurorack modular system.