Techno Novedades

"Taken from Drome 002 - Phuture Classical Supplement B (1992) Part 2 of a 3-Part Series released on Tabernacle Records (2018)"

Arad, real name Dara Smith, is the latest to join the VOITAX catalogue. The multidisciplinary artist previously made seminal moves with his work as one half of Lakker, alongside Eomac, dropping groundbreaking music on heavyweight labels such as R&S, Blueprint and Stroboscopic Artefacts. This time for VOITAX, the Irish artist serves us up "Radiance Haze" - a 6 track EP, spanning from heavy-hitting breaks to the ethereal ambience, with heavy features of Smith's vocals.

Early support by Blawan, Dave Clarke, Eomac, Francios X, Inigo Kennedy, Lucy, Marcel Dettmann, Vivian Koch, Neumann and many more.

The 20th release on Spazio Disponibile - the Rome based label curated by Donato Dozzy and Neel - comes from deep techno pioneer Mike Parker. His second solo outing on the label includes five tracks of warping hypnotism, experimenting with half-time tempo's and spacious rhythms.

Nine tracks of classic Muslimgauze material: Tribal and percussive, mixed with tape loops, ambigue atmospheres and some noisy edginess. Bryn Jones originally recorded and mixed this album at the Abraham Mosque in Manchester. It was then released in 1995 on CD (in an edition of circa 1800 copies) via the Portland based Soleilmoon Recordings, which was a sister company to Staalplaat back then. The nine tracks have been remastered for this reissue, that also comes with a new artwork.

All tracks written and played by Muslimgauze.
Recorded and mixed at the Abraham Mosque, Manchester.
Engineered by John Delf.
Re-mastered by C-drik.
Artwork concept and photography by Dmytro Fedorenko.
Artwork design by Zavoloka.

DJ Richard's first release of 2019 sees him drop four invigorating electro tracks on Flexxseal titled "Eraser".

Emerging from the Providence noise scene, DJ Richard forges a path of disciplined selectiveness as a producer and DJ with his idiosyncratic style allowing him to make impressive, self-assured connections between 80s EBM, new beat and Italo disco, electro, techno and "post-minimalist" house. DJ Richard's feral approach evolved from the roots of his White Material imprint which quickly achieved cult status after early releases from himself and co-founders Galcher Lustwerk and Young Male.

As a solo artist, DJ Richard continues to push the boundaries of his talent and influences reflected in his two utterly distinctive and bewitching albums released in alliance with influential German electronic label, Dial. "Eraser" sees him join up with fellow American Christopher Joseph and his Flexxseal imprint as DJ Richard masterfully maintains his skill in propagating ephemeral and raw sounds with his aptitude for electronic body control.

"Critical Damage" kicks things off with resilient oscillations fused beautifully with angelic leads and thudding percussion reflecting a post-punk aesthetic while "Eraser" delivers tough, acidic swirls undulating beneath sharp, broken grooves and growling undertones.

On the flip, a slow, chugging drum sequence balanced with haunting modulations and machine-like vibrations that echo throughout take the focus in "His Threshing Floor" before "Casca's Theme" concludes the EP with meandering, robotic synth flutters and distorted bass resonations driven by hypnotic rhythms and world-ending atmospheres in this powerful electro cut.

This 3-part compilation is a celebration of On The 5th Day - a project born out of love - honouring the music, moments and individuals that have helped to make it so special.

What follows is a journey through the spectrum of sound On The 5th Day so proudly represents and has become renowned for, the full compilation mirroring the vision for our events: to create unforgettable flow from beginning to end - a record for each part of the night.

Our love and gratitude goes to all those who have joined us along the way.

Following the release of Roy's sold-out cassette album of the same name in 2018, Acid Waxa are thrilled to present 4 cuts from Acid Royale on vinyl for the very thirst time! EP opener MDM ANAL cuts no corner kicks, immediately reeling in both the young & old raver of yon with a raw and irresistible chonk of hedonistic HI-NRG saucy Euro-dance bang, followed by firm EP and album fave DON'T GET CAUGHT with it's beautiful gushing synth-lines and biting 303.

Fast forward to the second half of the match and title track ACID ROYALE is a thumping, tickler of a ride with its rolling cymbals and dizzying, fizzed-up synth lines. EP closer GO SKIIING sees Roy in gentler fettle, easing our collective come-down with fluttering, snowflake-like synths and thick, buried bass drums, peng (bobble) hats and dense snares, shovelled up from off of the slope where Roy skilfully and majestically soars. BRAVO, MISTER RACE!!

Brooklyn-based outfit Wetware (Roxy Farman and Matt Morandi) return with the intense follow-up album to 2018’s Automatic Drawing, an electronic dirge, simply titled: Flail

Formed in 2015 and known for their odd and unpredictable live performances, Wetware’s new album captures this disorienting confusion in a series of definitive documents that encompass a concentrated, noisier sound that pushes and pulls against electronic textures and frenetic vocals, creating a palate of wild, unhinged sonic collages.

Presented across eleven new tracks in a tightly wrapped and smartly delivered album, Flail is exemplary of Wetware’s dynamics and tension. The 42 seconds of “Car Dancer,” act as a trailer for tension, setting up the episodic blast of “Kismet,” challenging the listener to find a wall to grab. Lead single "Exaggerated Bliss" pulsates before spinning unexpectedly into a chilling spoken narrative. Bitterly terse storytelling follows the staccato map of emotion, and as sparse as “Divided In Halves” is, “Rivalries Regulars” immediately answers with a dense oration that features Farman cursing “I know the reason for it” in stoic repetition, agnostic of rhythm yet in sync with mania.

The Belgian party organisation and record label De:tuned mark their 10th anniversary with the first outing of their 10 x 12'' series. 'DE:10.01' kicks off with a special treat from the 90s golden era: on offer a welcome combination of previously unreleased DAT material by Kirk Degiorgio and expertly affectionate As One remix treatments of both original Sensurreal and Jedi Knights (Mark Pritchard and Tom Middleton) work, pure bliss.
The artwork of the first 9 collectable releases of the series forms a 3 x 3 poster display. De:tuned have called on designer Kevin Foakes (Openmind, DJ Food, Ninja Tune) to create all graphic work.
This kickstarter for the series is mastered by Matt Colton (Alchemy Mastering) and pressed on 180 gr vinyl. A separate digital version of every release will be available from the usual digital shops. Stay tuned!

LIMITED EDITION COLOURED VINYL

De:tuned continue to celebrate their 10th anniversary with this second EP of the series and dive deep down into the ambient techno world. The A side makes you drift away on a rare Sun Electric get together, followed by a Higher Intelligence Agency piece of beauty. DeepChord's dubbed lushness completes this highly intense journey.
Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Pressed on 180 gr vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

LIMITED EDITION COLOURED VINYL!

Almost 10 years after his last solo album, Matthew Puffett aka Future Beat Alliance makes a long-overdue return with new album Beginner's Mind. The deeply immersive nine-track album lands on 10th July 2020, The record is an invitation to "slow down, think mindfully and see more clearly”.

Over the course of a career that started in 1996, Matthew Puffett has taken great inspiration from Detroit futurism, mixed it up with his own UK perspective and become synonymous with soulful techno and electro that gazes off into the cosmos. His always emotive, melodic sounds have made for electrifying EPs and absorbing long players on esteemed labels like Tresor, Delsin, Versatile & Rush Hour, as well as self-releasing on his own Reward System imprint.

The last 10 years have seen Puffett working closely & collaborating on James Lavelle's UNKLE project. The resulting body of work includes co-writing and programming UNKLE`s 5th studio album, `The Road Part 1’, various film projects and advertising campaigns, and remixing a list of high profile artists. During this period UNKLE were winners of the MPG Remixer Of The Year award in 2016, 2018 & 2020. In the background, Matthew continued to make his own music and always looked to grow, evolve and infuse his sounds with new techniques and understanding. It was a collection of this music that eventually got crafted and shaped into new album Beginner's Mind, which comes just after a new 12" for R&S which hit the shelves on 13th March & features a remix from Afriqua.

Beginner's Mind, Puffett`s most cohesive record to date, is a soothing, escapist listen in these uncertain times & will slow the minds and swell the hearts of all who hear it.

The third long player on Night Defined Recordings sees SUED affiliate SW. presenting his new mini LP ‘Night’ and walking a tightrope between jazz and club music. The tracks manifest and dematerialize themselves almost in a non-tangible and floating way, which can be seen as more than just a musical approach but rather shows the artist referring to issues of volatility and evanescence. While listening, some may find themselves in the dark and dusty atmosphere of a jazz club, where the band in the corner at the other end of the room is playing their instruments just when the beat kicks in and puts you right into the club atmosphere.

Written & produced by SW. at SUEDstudio Mastering by Mattias Fridell

Artwork by Studio Belser

The enigmatic Ando Laj’s latest full-length excursion—9-tracks of heady sonic explorations that defy neat categorization, a plethora of textures & forms arranged with the producer’s signature attention to compositional minutiae. Dog Insight is a series of personal recordings in an inimitable sound world that once again sees the producer taking their esoteric style into new territories. Resolute, mechanized thump is brought to gradual equilibrium by weightless cascade on “Soj Alm”, while skeletal opening number “Aal Tn” rattles into chrysalis, unravelling itself out of murky depths over its duration. A shrouded collection of slow-to-evolve melodic & rhythmic feedback loops, plucked from a haze of nostalgic familiarity—sound sources of indeterminable origin, sequenced & processed to mystical effect. Another intriguing & devotional experience from the Toronto artist.

Recorded at INA GRM and Steamroom

Piano: Eiko Ishibashi // Violin, viola: Atsuko Hatano // Trumpet: Eivind Lonning

Cut by Andreas Kauffelt at Schnittstelle, Berlin, February 2020

Photo by Eiko Ishibashi // Sleeve design by Stephen O'Malley

Special thanks to Francois Bonnet and Jean Schwarz for bookending 30 years

Due to the wide dynamic levels, please adjust your volume accordingly

Shutting Down Here is a special work. Symbolically, it covers a period of thirty years, between two visits by Jim O'Rourke to the GRM, the first, as a young man fascinated by the institution and his repertoire, the second, as an accomplished musician, influential and imbued with an aura of mystery. Shutting Down Here is a piece shaped like an universe, a heterogeneous world in which collides the multiple musical facets of Jim O'Rourke: instrumental writing, field recordings, electronic textures and cybernetic becomings, dynamic spaces, harmonic spaces, silent spans . This variety of approach, strangely, does not in any way weaken the coherence of the whole and this is the talent of Jim O'Rourke, a talent, properly speaking, of composition, where all the sound elements compete and participate to stakes that exceed them and of a common destiny, that is to say of an apparition.

Released in association with Editions Mego.
Coordination GRM: François Bonnet, Jules Négrier

Executive Production: Peter Rehberg

According to the feudal system which was introduced into England by William of Normandy, the king was an absolute monarch, so he could do whatever he liked.
(from Origins of the Magna Charta).

In a cardboard media background, where cliche is law, where the digital essence of the personal data is more meaningful than the person itself, the Bait e Borghi project arises. The natural environment beyond anthropization, the technic and technologic strained clutch inside the places that inspired the album. The traveller meant as the one that makes the trip his own life, and that inevitably moves so far away from common archetypes that defeats every possible storytelling but the sound evocation. A sound that becomes the last unreal notebook like the matter which dreams and memories are made of. An unlikely but possible distopia where our last Thule remains the passage between body and machine, cyberpunk myth yet beautifully imagined and illustrated during the eighties. Not by chance Bait e Borghi share the same starting point, the same region that assumes twisted features if observed from the mid Adriatic offshore oil platforms point of view. Squalo, Giovanna, Ombrina are the point at issue, monumental media short-circuits, disclosed and hidden truths at the same time

Since the early 90's, the Belgian duo Silk Saw has pioneered nearly unclassifiable electronic music at the forefront of experimental and avant-garde.

Their 12th album is a contiguous expansion of the universe created in Imaginary Landscapes, the previous album published on Kotä in 2015, blending sweet and bitter in languorous and enigmatic melodies that float on intriguing pounding polyrhythms. With the release of Nothing is Finished/Everything Starts on Sub Rosa, Marc Medea and Gabriel Séverin are back home, since their very first trial, 'Musique du garrot et de la feraille' - under their strange 'modern dada' alias, Jardin d'Usure - was released in 1994 (followed by the first two Silk Saw albums from 1996 and 1997).

Now more than ever, without compromise, the duo makes full use of complex tools like Frequency Modulation, granular and morphing synthesis. In an array of delightful to jarring surprises, a sinuous ballad will be troubled with remote blasts, or abruptly interrupted by a collapse of the base. While the tracks resonate fundamentally with a feeling of falling, failing, decay, the sleeve picture conveys that destruction is in fact where everything starts.

All sounds recorded at various locations in Europe, South America and at EMS, Stockholm using the Buchla 200 modular synthesizer.

soar, all sounds recorded with Klara Lewis in Montreal 2018


Mastered by Russell Haswell. January 2020

Cut at Schnittstelle, Berlin by Andreas Kauffelt, January 2020


Image : Mark Hogben

Layout: Nik Void

The last two years have seen me maintaining an association with an unusual bedfellow, death. The loss of Mika Vainio, as well as three members of my own family, has had a profound effect on me and spurred a lengthy reflection on life, death, and everything in between.

Parallelly, while studying the philosophy of science, I came across shadow photons:


"Tangible photons are the ones we can see or detect with instruments whereas shadow photons are intangible (invisible) detectable only indirectly through the interference effects on the tangible photons.

There is no intrinsic difference between tangible and shadow photons: each photon is tangible in one universe and intangible in all the other parallel universes.

They travel at the speed of light, bounce off mirrors, are refracted by lenses, and are stopped by opaque barriers or filters of the wrong colour. Yet, they do not trigger even the most sensitive detectors. The only thing in the universe that a shadow photon can be observed to affect is the tangible photon that it accompanies. This is the phenomenon of interference.

Shadow photons would go entirely unnoticed, were it not for this phenomenon and the strange pattern of shadows by which we observe it.

Thus the existence of a seething, prodigiously complicated hidden world of shadow photons has been inferred."*


I have drawn a parallel between shadow photons and death. The interference phenomena, parallel universes, and how shadow photons affect tangible photons they accompany, offer, in my opinion, similarities, an unknown universe which is death and how we, remaining tangible human beings, are affected. This quest has led me to be more willing to accept chaos in my life and to conclude that Death is perfection, everything else is relative.

Sludge machine music slapped through the infinite mixing desk by SRS - the combined mind of Sunun and Robin Stewart. At any pointData Fossil'sgiddy industrial riddims could collapse under their own weight. There are Sunun inputs and there are Robin Stewart inputs - but everything is offered up to their machines gladly for an output of nu-human-beat. Voices drift through the mix in hushed Italian and Robin's gruff roboticized drawl, floating dub chords left hanging for cavernous subs and rattled bones, distant harps and arps, a sudden blast of trills. 'Spit Fossil' itself is a clipped noise-pop wonder - the aural equivalent of a lights-on Avon dancefloor with only the weirdest left standing.



Recorded on the rooftop of a housing project called Camelot in 2018, the two Bristol locals debuted the live / unplanned collaboration in an inflatable arena called 'Toldo' in the Brunswick Club ballroom (RIP). Then again at Young Echo at the Cube Microplex - a night where it's said anything is possible (Sunun even dubbed Guest's live human heartbeat there recently….). IfData Fossilis hard to describe - it's just the sound of the musical freedom of a city that will never run dry.



It's a high Bokeh honour to welcome Sunun back after we helped release her 2018 debut,Ooid EP. Her live show continues to be the most inspiring re-use of dub principles we've witnessed (again and again). Time only grows her music outwards causing the Young Echo collective to demand she join them. SinceOoid,she's released a 12" of MPC wonders with close Bristol pals Cold Light.


Recently bearing his dub-side to all that didn't know on Trilogy Tapes'Time Travel EP, Robin Stewart is half of world conquering techno-cult Giant Swan. Also a veteran of Rwdfwd stable of imprints (Fuckpunk and NoCorner) - his music DNA is equal parts shoegaze and steppas. In 2020 he was officially recognised for having the largest collection of Bokeh t shirts.

Blue Vinyl

A previously unreleased set of ’87-’93 bleep techno, trance, ambient, noise and breakbeats by synf boffin Dave Burraston’s cult NYZ project - recommended for followers of early AFX, Autechre/Lego Feet, FSOL/Humanoid, Mappa Mundi - newly minted on The Death Of Rave.

Following his mind-bending ’SHFTR FRQ’ LP for The Death of Rave in 2018, the award-winning, UK-born and Aussie-based artist/scientist excavates his HD from a golden era when synf and computer music boffins were building the future in bedroom studios, using then early versions of Cubase and Amiga software to establish the templates for decades of rave and electronic dance music to come. However, like a rare, mutant dinosaur skeleton that doesn’t fit historic models, NYZ’s unarchiving of ‘OLD TRX 87-93’ offers a complex and unusually chaotic range of ideas for this era - from meditation tape-sampling downbeats to nutty proto-speed garage and animated noise - that plays out like a comic book or pulpy sci-fi narrative and smartly showcases the breadth of Dave’s prized imagination and technical nous.

In 11 parts arranged for a properly immersive listen, ‘OLD TRX 87-93’ wends from squashed ‘80s cyberpunk sci-fi in ‘damage’ to the hypnagogic swag of ‘self_hypnotic_tapez’ via a spectrum of mutant dance floor and avant oddities alongside a bezerker breakbeat razz in ‘patheticsocialmisfits’ and what sounds like proto-speed garage in the warped bass of ‘flatline’. But he never uses the same drum pattern twice, and thanks to the inclusion of wildcards such as the scorching noise piece ‘JP4_PhonosonicsRM_DRN’ and the sleazy proto-trance of ‘CEZbulgan’, the sequencing ideally lends itself to jacked-in headphone mooches as much as domestic and raving use.

The results are surely comparable to the haunting early rave and ambient sound of AFX’s ‘SAW 85-92’ as much as the freaky ideas found on Brian Dougans’ proto-FSOL project, Humanoid ‘Sessions 84-88’, or the hardcore breakbeat ruggedness of Autechre’s Legofeet, yet all done with a trippy sound design and time-out-of-joint feel that’s singular to this remarkable record, and speaks to the artist’s wealth of experience; from his role as a BT trouble-shooter in the ‘70s, to his work on landscape-sized sound art installations, and his legendary ’SYROBONKERS’ interview with Richard D. James. It’s an immensely enjoyable and enigmatic album sure to spark ravenous interest with old and yung skool ravers and electronic music fiends.

Faitiche presents Jan Jelinek’s album Tierbeoachtungen in a limited pressing on vinyl for the first time. Originally released on Scape in 2006 as a CD and download, the album’s six tracks took their cues from Jelinek’s live concerts of that period: dense, slowly unfolding loop improvisations made with a laptop, various effect pedals and miniature synthesizers. It is music that floats in a semi-conscious state between dream and awakening, always slightly mysterious, leaving traces that lead directly to the psychedelic-cosmic music of the kraut era.

In his release notes for Tierbeobachtungen at the time, the late lamented Martin Büsser wrote:

"The animal is experiencing a renaissance in music. It provides a reflective surface for our notion of the unbridled and irrational, of that Other the philosophers Deleuze/Guattari – as part of their ‘Animalisation’ – called the embodiment of artistic deliverance. And yet, how much of a liberation can art actually tolerate? To what extent can music truly throw off its fetters without descending into chaos? Jan Jelinek’s album title provides a first hint of this development: Tierbeobachtungen (animal observations) is his fourth album for ~scape, and it addresses the issue of release and liberation. Recorded almost in transit, while preparing his move to a new studio, the tracks reveal and relish in their improvisational character, and drifting, lost sound – yet they never lose sight of their underlying structure. Tierbeobachtungen might be Jelinek’s freest and most personal work, with simply arranged tracks based on four to five layered and modulated loops, while his own studio equipment provides the main sampling sources, from synthesizer and guitaret to vibraphonette. Jelinek takes on the role of observer on this record, with a level of reflection remaining audible throughout. However, this is by no means intellectual, distanced music – Jelinek leads us straight into a thicket, an acoustic jungle where sumptuous splendour meets the uncanny. A long tradition of psychedelic music pervades the recordings – Amon Düül, Cluster, My Bloody Valentine – yet whatever musical memories might vie for our attention, these are no clear-cut references, just loose associations. On occasion, one might even be tempted to take them for field recordings – gems discovered, stored and returned from their travels by ethnologists fifty or a hundred years ago. Similar to the pioneers of industrial music, like Cabaret Voltaire or Zoviet France, who experimented with field recordings to challenge Western listening habits, Tierbeobachtungen takes us to new, unknown territories and brims with sounds that defy geographic or stylistic classification, not unlike the semi-conscious state between dream and awakening. (...)" Martin Büsser, 2006

Tresor Records is pleased to welcome Minimal Violence to the label, starting with the first chapter in a series of three records entitled DESTROY ---> physical REALITY psychic <--- TRUST to be released during the next 12 months. At the furthest edges of their idiosyncratic brand of ferocious hardware techno, this first EP, Phase One, reveals the Vancouver duo to be expertly out on a limb. Mirroring the explosive cut and thrust of their live sets, their recorded output extends a metaphysical rave.
Throughout, Ash Luk and Lida P cut their cinematic melodies into a clattering rave hole, unceasingly revising the gravitational pull in each direction. Ravebomb finds a route of no-nonsense with its unhinged endorphin rush of surging EBM style bass and rough-handed rhythms. It is followed up by an alternate version of Ravebomb, the Fire Mix, which casts its elements into a heady psychoactive cloud on a collision course with its kick drum.
Glimpses of a rhythmic waywardness coat Perfect Rendition, full of tape tics and wobble, with a push to 90s UK, beat experimentations and the pull of arching hookworms.
Closing out the EP is The Next Screen Is Death, with a dystopian 80s wave sound, where short snippets of sampled mush imbue disturbed synth stabs, while arpeggiated basses drive with momentum a feverous descent in tandem with trance-echoing melodies.

Welcome to the seductive groove of Nonetheless, a new duo formed of Florian Bocksrucker and Felix Bergleiter, and the first LP on Neubau. Across four sides of vinyl Nonetheless deliver an intriguing mixture of tough dystopian midnight-drive soundtracks and transporting early electronic/musique-concrète-hybrid interludes. Nonetheless is the sound of cogs turning, churning melancholy and pulsing snake-charmer drum machine palpitation. The end result is catharsis through sinister journeying. From the near-acidic punch of 'Machine of Love and Hate', to the grandiose slow-motion of 'Epik' and the ravey 'Exclusion Zone', Nonetheless' debut record is something special to savour, and is proudly presented as the tenth release on Neubau.

Birmingham, UK’s sprawl of low rise warehouses and their links to the military-industrial complex inspires this crushing new take on the “Brummie” sound and spirit from former native Arash Moori for his longtime pals at Type In nine harsh and disorienting bouts of angular drums and hazardous noise texture, ‘Exothermic’ doubles down on the tonal and rhythmic brutalism of Moori’s debut for Type, ‘Heterodyne’ (2015). It forms a deep topographical reading of his home region’s maze of 1-storey munitions workshops, flyovers, canals, and spaghetti road systems, all intersected by the ghosts of Jungle pirate radio and lit up by hotspots of nostalgic reminiscence; places where he studied, walked thru, DJed atand protested with long-time friend and Type label co-owner, John Twells. Moreover ‘Exothermic’ is concerned with how this environment and the city’s progressive past affects the mood and music of its contemporary population, and how it ultimately came to inform the visceral nature of the “Brummie Sound”.
Working to a fierce, noisy aesthetic that’s been firmly expressed in hard-bitten Brummie and midlander music by everyone from Black Sabbath to Scorn, and even Coventry’s Delia Derbyshire, who acknowledged the infamous Luftwaffe blitz on her home city as a formative sonic experience, ‘Exothermic’ explodes with a tightly coiled, abstract-industrial energy that’s surely worthy of comparison with any of them. In fits and bursts, rhythms inspired by the city’s pirate radio jungle heritage clash with sheets of metallic calamity; sawn-off percussion ricochets the space like shrapnel searching for a target; and structures are torched like Raymond Mason’s municipal artwork ‘Forward’ which went up in flames during the city’s 2003 demonstrations against the Iraq war. It’s all intended to mirror a negative feedback loop of intensity between the place and its people, and does so with a mix of bostin’ glee and dark humour familiar to the region.
From this meld of psychogeography, subjective hauntology, and objective history, Arash Moori’s work in ‘Exothermic’ most cannily and explicitly results a simulacra of a place shaped by emotions, personal memories, and accreted histories, and rendered in a temporal flux as chaotically tiled and riven with radical energies as the place itself.

New release by one of Berlin’s most unique and long standing producers. Patrick Stottrop’s activities are at the heart and foundation of Berlin’s Techno sound, active since 1996 and founder of Zhark Recordings, he’s been pushing and challenging the definition of dance music since it’s inception.
On this release we find the title track “Legeia” as well as the tracks “Die Erwartung” and “Richmond”, taken from The Garden of Time LP recoding session from 2019. These 3 tracks set the prevailing mood for 2 subsequent cuts, “Horus” and “Sorcerer”. While Richmond follows a more andante direction “Legeia” presents a unique combination of drones engulfed in a wild & hectic Technoid percussive Inferno. “Die Erwartung” on the other hand might resemble in its overall mood the Rheingold Prelude (in a higher register) with its drone like strings layer build up. wHILE “Horus” and “Sorcere” are recent tracks form KAREEMs current live set and were recently arranged to fit into the EP format. Both tracks build on static percussive hostility and climax towards their middle parts to an overall acoustic orgy of reverberating string strikes and high-pitched drone oscillations. An over all grand addition to his continuously growing and ecstatic catalog.

Maenad Veyl returns with his sophomore album, ‘Reassessment’, a collection of 13 tracks inspired by inner turmoil and change. Expanding on the sound palette established with last year’s critically-acclaimed ‘Body Count’, Feriero ventures into heavier, more abstract territories and collaborations with Years of Denial.
I wrote a new album as Maenad Veyl at the end of last year, in part inspired by events surrounding some personal health issues and a (minor) surgery. I wanted the music, title and artwork (shot over a year ago) to reflect what I experienced then, as I saw them as a metaphor to other changes I was going through at the time.?
Needless to say, as we geared up for release as we usually do, the world ground to a halt. All the images , words printed or spoken on the album have changed meaning since and, compared to what many people are going through now, my “inspiring changes” feel distant and unimportant.?
We’re not blind to the fact this could be seen as inappropriate or in bad taste, and we’ve contemplated every alternative, but in the end we’ve decided to keep things as “business as usual” as possible, so ‘Reassessment’ is now up for pre-order. - Maenad Veyl

The first collaboration between frequent Past Inside the Present contributor Slow Dancing Society (both as an artist and in-house engineer for other PITP releases) and the label's founder zake, present 'Mirrored'; a wonderful meditative exploration of glacial drones, atmospheric hum, and touches of restrained ambient techno.

Mirrored is a quietly powerful, contemplative album with a beautiful stillness at its center. Layered dronescopes are intertwined with murmuring electronic rhythms, hypnotic bass, and the occasional pneumatic beat resulting in a collection of pieces that radiates a glowing warmth.

Following last year’s often praised “EMU” Electro Music Union, Sinoesin & Xonox Works compilation, Cold Blow is unearthing more Metatone affiliated material from the formative years of British techno. The EP is, for the most part, unreleased and unheard music circa 1994 by Kieran Warren aka Atonal. It appropriately bridges the 27-year gap in output by headlining the release with the only previously released track, “Cithare”, which featured on a Metatone Recordings compilation as a teaser of what was to be his solo release on the same label. The planned debut never saw the light of day due to sudden folding of the label but fortunately, a lot of the material Kieran produced survived on archived DAT tapes.
Clearly not immune to the influences of its era, considering the music was produced in the first five years of the ‘90s, there is still plenty of originality to be found. While the title track conjures up the melodic patterns of Selected Ambient Works married with the rawness of Universal Indicator, the rest of the EP takes a more broken beat approach. “Malago” and “Cluster” send us floating into dimensional space with ethereal pads harnessed with rolling breaks. As if almost an antithesis of its title, “Northern Soul” takes us to a more sinister direction which sounds like Mike Paradinas after a particularly rough ragga evening. The EP closes with a heartwarming drumless vignette that is “Saw Her Yesterday”, perhaps giving us clues of things to come. After all, the label has announced that a full-length album drawing from the same tape archives is expected later in the year.
A must have for the fans of early Aphex Twin.

Clear Vinyl

Between Sleeps is a french producer based in Paris, passionate about sound design and synthesizers. His stage name and musical world evoke the state of semi-consciousness, when neither awake nor asleep. With dreamy pads and strong rythms, his music mixes electronica, house and techno. Boards Of Canada, Lone or The Field are among his main influences. All the tracks included in the EP Fantasia have been composed with the same hardware set-up: a sampler, an FM synthesizer and a substractive analog synthesizer. Every track has been recorded in one stereo take.

Second installment on OK SPIRIT goes deep into the digital dub fantasies of Employee. Echo reflections on nine-to-five dilemmas with a dizzy remix by DJ Neewt.

Over the years, American composer Rafael Anton Irisarrihas become ubiquitous within the spheres of ambient, drone and electronic music. Whether it’s through Irisarri’scelestial long-form albums or his lauded audio engineering credentials for countless artists and labels, Irisarri’s consistent dedication to his craft never wavers from the forefront.

While Irisarri’s compositions typically field an array of modern ambient overtones threaded through oceanic symphonies with tape loops, bowed electric guitar and vast washes of overdriven sound, his recent debut album for Dais Records, Peripeteia, portray these common themes giving way to metal and classical influences that emphasizes Irisarri’s melancholic tendencies. These unique overtures, coupled with his signature layering of distortion and bleached-out textures, fabricate an audible environment that would seemingly be at oddswith, yet gracefullycomplementeach other. In Irisarri’s own words, “My previous works internalize any exterior forces or circumstances, while trying to make sense of the world. Peripeteia reverses that approach, focusing on the personal in order to tell a wider human story.”

The emotional depth found throughout Peripeteia is impeccably on display with the track, Mellified. A collaboration with Spanish composer Yamila, the choral arrangements bring to mind the sacred music of Arvo Pärt, while her voice combines the Andalusian “Cante jondo” style with medieval modes, almost drowning in layers of octave fuzz distortion and dystopian synths patterns. On Arduous Clarity, the bright arpeggiating melody that churns throughout, offers the initial glimmer of optimism in an otherwise decaying tale of personal turmoil. This encouraging glimpse is short lived however, as the song Refuge/Refuseseemingly plummets into the mourning depths of somber despair. A chorus of voices steadily crawls from its desolate terrain –a sea of broken spirits, eternally resigned to strain and bellow their final lament. Fright and Control, a piece which is equally soul churning, seems to possess a satisfying resolve, as if after years of searching, one’s very salvation has been laid to rest through the acceptance of mortality and the enlightenment in death. Irisarri’s complexity is utilized to a forcible success, slowly pulsing throughout the foreground of his audience, further emphasizing the impending dread of resolve.

Artist statement: "Peripeteia is about the last few years, sudden reversals in fortune, illness, and comforting mortality. These sudden changes in personal life mirrors the sociopolitical transformations happening at a larger global scale in countries all over the world. Previous Irisarri works internalize exterior forces/circumstances while trying to make sense of the world. Peripeteia reverses that narrative, focusing on the personal to tell a wider human story."

We are proud to present UNDERMEDVETENHETEN, a new live action role playing game developed alongside London games company Frand.

UNDERMEDVETENHETEN is a simple, science fantasy game for 1-12 players, with a focus on atmosphere, storytelling and player cooperation - perfect for newcomers to live action role playing. It takes 2 minutes to set up, lasts around 30 minutes, and no two games are ever the same.

Players take on the roles of humans aboard a vessel on an endless journey into the depths of space. They are not lost, but all hope is, as they hurtle stricken into the void. Your only access to the universe outside is through the ship's altruistic artificial intelligence, Mima.

As immersive chapter cards are revealed one by one, players must interact with Mima in order to shed light on the universe around them, indulge in fantasies of worlds past, or attempt to right the ship's blighted trajectory.

Can you make sense of the abyss?

UNDERMEDVETENHETEN comes complete with a soundtrack composed by John B McKenna. Together with our partners Lost Map Records and Foundation of the Teacherock, we have pressed this to a limited run of 300 records.

2xTape / Cassette

Limited edition two-tape bundle of The Hague's new Hunger! label's two first releases: L'Ascenseur by Alina Valentina/Dim Garden + Without Winning You Over by Jentlemen, together with an A4 poster and stickers in clear bag. Cassettes come in ice frosty color and clear library cases. Artwork by Josephine van Schendel.

Der New Yorker Electro-Produzent mit portugiesischen Wurzeln, Baauer, bekannt für hochkarätige Kollaborationen mit Jay-Z, Missy Elliott, Elle Fanning, Jennifer Lawrence oder Skepta, legt mit "PLANET'S MAD" verknüpft auf seinem zweiten Solowerk persönliche Rave-Einflüsse (Fatboy Slim, The Chemical Brothers, Basement Jaxx, Daft Punk) mit zeitgenössischen Hip-Hop- & Pop-Elementen zu einem Spiegelbild unserer modernen, digitalen Kultur. Aufgebaut wie ein Film, führt uns das Album wie eine Geschichte durch etliche Micro-Genres und leinwandgrosse-maximalistische Dance-Klangwelten, so schillernd, vielfältig und bunt wie unser wilder Planet.

Repress

Second album by Vril on Delsin Records. A deep excursion for mind and body, combining his trademark dub techno grooves with experimental ambient trips.

Exhausted Modern joins the Artificial Horizon family and delivers a caustic mix of brutish and combustible electronix in keeping with the style that has seen his productions supported by the new wave of artists from Europe and beyond that seek to bring the future sounds of Acid, EBM and Techno to the present. From the contorted modulations of Dysphoric Experience to the emotional and melancholic closer ’Seagulls in a Harbour’, Exhausted Modern’s Datura EP twists and turns at every step, each track capable of sending any listener into certain frenzy.

Only 300 pressed, all are hand-numbered.
Art by Kyle Webster
Mastered by James Savage

Over fifty minutes of excellent minimalist synth explorations by Rotterdam based musician Mattheis on his new long player Thin Sections. Simultaneously launching a new series of albums on Nous'klaer Audio intended for sedentary listening. Heavy weight vinyl, full print sleeve and including download card.

2x12"

Finn’s 2 B Real bootyque drop his killer 82 min vinyl edit of Tom Boogizm’s prized live introduction to mysterious G, Michael J Blood, originally broadcast on NTS, issued on sold-out tape, and now newly cut on 2LP with track markers for DJ navigation and primed for smoky lockdown bopping - think Manny’s answer to Moodyman, Urban Tribe or Theo Parrish!
Meticulously distilled by Finn from the original cult NTS show and its sought-after tape edition, it’s as much a showcase for Michael J. Blood’s rudely soulful production and his circle as the deadly DJ tekkers of Tom Boogizm and Finn’s edit chops. Since the origi9nal 2017 broadcast the mix has been coveted for its bounty of unreleased cuts - a mixture of rude ghettotech and smoky soul-sampling jams - and the way it was stitched together, on-the-fly by Wigan’s funkiest son Boogizm - whose recent Shotta Tapes editions have sold out in minutes.
Now prepped by Demdike’s Miles Whittaker and cut to vinyl at D&M, the project enters a rare sub-subgenre of mixtapes on vinyl, packing 20 mins per side, with track marks highlighting Blood’s most in demand numbers, and all juggled in a classic Chicago and Detroit-via-Manchester style ideal for settee slomping or lockdown house-party function.
Trimmed to 80 mins of lean, it toggles the vibe back ’n forth between red-eyed studio abstraction, slompy Dilla-esque beats, synth-funk vamps and mutant ghetto-tech/Jit/juke with a charming, CDJazz loucheness, and keeps the gauge ticking up with a ruder feminine pressure recalling Finn’s own productions, and crucially includes some proper nifty, hands-on the 2000s chops by the Boogizm that sound like RP Boo, Slackk or DJ Rashad’s footwork flips of classic funk or even Actress’ classic Thriller edits, crisply framed and hewn for DJ use.
Trust it’s the lick. Do not sleep on this!

This record on Kvitnu presents live recordings be PAN SONIC played in Kyiv, Ukraine on June 6th, 2009.
Oksastus – is a Finnish word for process of grafting or cultivating of plants.

"Pan Sonic, the Finnish noise duo who split in 2010, recorded this meticulous live effort in 2009 in Kyiv in the Ukraine. It's impossible to frame it without thinking about the impending meltdown of both band and country, cloaking Oksastus in an apocalyptic backdrop." Pitchfork, 2014 (7.1 rating)