Techno News

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Rother teams up with Omnidisc for his debut. It embodies everything Omni represents as a collective. Lofi distorted harmonics with Rother's signature sound. Limited Run single Pressing

"Dueños de Nada" announces itself as a strong and tough proposal. It comes with the intention to get away from what we are used to hearing from the Chilean producer. As a first album, and by incorporating broad influences into a range of genres, industrial sounds and punk, the debut by Tomás Urquieta feels huge and accurate.


The "Dueños de Nada" sample, which belongs to Martin Sorrondeguy, is used by Urquieta to assemble a classic techno piece mixed with a new sound proposal, and by uniting these elements, a catharsis and collective osmosis movement is generated on the dance floor that does not need further explanation.


The proficiency that Tomás has developed when creating percussion doesn't go unnoticed either. It is the sensation of a new breath in his music, a replacement, a much more mature sound is demonstrated by the high instrumentation mixed in with a full on Techno base. The rhythms are wild, futuristic and with a completely personal vision. There are tracks that lock you up and there's others that leave the need for a club ajar. It is a heavy album, political, metallic but very organized. There are voices in Spanish of direct protest towards the system, voices where he invites us to be part of a march to despair, a liberation march for the dance floor . If we could summarize "Dueños de Nada" we would say it's a cry for freedom, a cry which asks us to enjoy the feeling of complete freedom across 11 tracks that embrace this anarchy in which Tomás Urquieta invites us to join.

Final part in the series "Soul of the Automaton" by Versalife closing it in style and with fine electro orientated elegance and crispy sounddesign.

- Latest ambient work from Fred Welton Warmsley III, formely known as Lee Bannon (hip hop producer and collaborator with Joey Bada$$, Souls Of Mischief, Hieroglyphics, and others)
- Former albums on labels such as Hospital Productions, Ninja Tune, NON
- Has received praise from Pitchfork, NPR, Boomkat

- Northern California electronic producer Fred Welton Warmsley III's solo work as Dedekind Cut
(pronounced dead-da-ken cut') has evolved from fractured industrial design into increasingly subdued and sublime ambient meditations across two years of dedicated activity. His second full-length collection, Tahoe—so named after the mountain lake town he now calls home—swells with widescreen grandeur, evoking vistas both inner and outer. There are echoes of his earlier, more tempestuous mode in tracks like MMXIX' and Spiral' but overall the album skews panoramic and pensive, muted synthetic mists contoured with choral melody, field recordings, and radiant drone. His compositional instincts feel alternately classical, contemporary, and conflicted, befitting an artist whose discography spans labels as divergent as Hospital Productions, Ninja Tune, and NON.

- Warmsley characterizes Tahoe as a time peace,' sifting through the past, the present, future, and fantasy.' Recorded primarily in New York, with additional sessions sourced from Berlin, Cambridge, and Placer County, California.

Experiential composer Tim Hecker's ninth official full-length, Konoyo ('the world over here') was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo.
Inspired by conversations with a recently deceased friend about negative space and a sense of music's increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.
As with the Icelandic choir he arranged on 2016's Love Streams, the heights of Hecker's talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.
Hecker will stage a series of special performances in tandem with the album's release, featuring members of the gagaku ensemble on sho¯, ryuteki and hichiriki, accompanied by Kara-Lis Coverdale.

Berlin-based duo ONTHEGROUND which consists of Myztical and Diagenetic Origin, is about to release 'Role Of The Observer', their follow-up to last year s debut EP 'Touching Higher Ground'. This record is a snapshot of their creative development and hard work which took them at least a year to put together.

The A Side takes up where the last year's EP left off, establishing a template of industrial pummeling techno with a focus on irresistible, broken groove. A1 'The Power Of Prayer' is a powerful banger droning synths and dislocated samples build up the anticipation, before massive kicks drop and propel the tension onwards. A2 'Controlled By Faith' is similarly destructive on the dancefloor, a bundle of rasping, dirty rattles that drive on relentlessly in funky delirium.

The B Side delves into the darker, more elusive recesses of the duo's creativity. On B1 'Ancient Cycles', distorted rumbles morph over pattering, primordial percussive patterns. B2 'Role Of The Observer' ratchets out a heady mesh of fragmented, disorientating textures over frantic, propulsive beats.

6 track LP pressed on 12" black vinyl with black centre label, black disco insert, black laminated sleeve with barcode detail.

* London based label SM-LL presents its second main label 12" LP release, Zimní Král, from Italian artist Andrea Taeggi.

* Andrea Taeggi works in Berlin as a composer, live performer and electronic music producer. Besides his solo practice
— on his own name or under the moniker Gondwana, he is co-leading long-standing electroacoustic project Lumisokea. His music has been released on vinyl and dubplate on labels Opal Tapes, Type, and Präsens Editionen.

* The music on this record was made using a vast array of rare analog machines Taeggi had the chance to work on at the Willem-Twee synthesis studio in Holland (built with the iconic Studio di Fonologia RAI as a blueprint). Most of the percussive sounds come from an Analog Computer, which has been rarely used only as a music instrument (its main purpose was flight simulation). In fact, during the Cold War times it was also used as a measurement tool by civil engineers and even by the army. At present, no one has ever officially released music recorded at the Willem-Twee synthesis studio.

*The music on this record further explores cyclical, minimal and hypnotic concoctions - a particular investigation focused on unusual rhythms that Taeggi had already started on his well-received 'Mama Matrix Most Mysterious', released on Type in 2015. Think walls of sub frequencies, snappy rollercoasters of the mind, labyrinths in hyperspace & snakes eating their own tails.

The second in the Skins whitelabel series delivers yet more carefully crafted dub techno for the dancefloor. Opener 'Sahara Sky' begins with menacing low-end atmospherics, with slowly evolving pads and chords forming an assured groove punctuated by dreamy synth lines. 'Eve' is similarly groove-based, with its relentless forward momentum kept in check by a wistful descending chord sequence. In both, Skins lends the spaciousness synonymous with dub techno a club-focused kineticism, creating versatile tracks that allow DJs to transform the vibe, whether building up or winding down. The record also features two synth tools: an energetic acid/dub fusion and a stripped-back polymetric chord jam, offering myriad possibilities for textural play and keeping listeners guessing.

Second volume of "The Encyclopedia of Civilizations", a collection of split LP's where selected artists offer their own insight into fascinating ancient cultures.

In this volume music is inspired by Atlantis, a legendary civilization surrounded by mystery. The LP is presented in a special edition with an extense booklet that tries to shed some light on the myth of Atlantis and will help you to inmerse yourself in this fascinating civilization while you listen to the music. The sleeve is printed in the old way, letterpressed with metal movable type as Gutemberg used to do it, as all of the Abstrakce editions.

DSR lines is the project of the Belgian electronic artist David Edren. He's been releasing his music for almost two decades in labels such as Ultra Eczema, JJ Funhouse or Black Sweat. His Atlantis tracks is one of his best works (if not the best) so far, developing an exquisite use of modular synths. David presents a mature work, fruit of an intense experimentation with synths such as Buchla 200 or Serge Synthesizer Systems. His arpeggios and oscillations sound like the music that would be played in an Atlantis church worshiping an Ancient God (probably Poseidon or Minos) if this wise civilization had reached our days. Organic minimal electronics developing a very personal sound, an spiritual approach that could be a modern continuation of the investigations started by JD Emmanuel, Ariel Kalma or Michael Hoenig.

Bitchin bajas is the project by Cooper Crain (also on the band Cave), Dan Quinlivan and Rob Frye. They have released his material in labels such as Permanent records, Drag City, Hands in the Dark or Important records. They present us an astonishing 20-minute-track inspired in the diaspora of the Atlantis people after the great cataclysm that sank its island at the bottom of the ocean and plunged into darkness its splendor forever. Warm, instrumental, psychedelic and melodic music that drinks from the electronic minimalism of the 60s and 70s (Terry Riley, La Monte Young...) blended with the space feeling of the kosmische maestros (Klaus Schulze, Harald Grosskopf, etc.). Deep electronics, hypnotic pulses and enigmatic melodies introducing acoustic instruments such as flutes or xylophones that will make you float in space while thinking about our Atlantis ancestors.

4 Tracks Carefully Selected From Ernst Thoma 80's Private Catalogue, Including "winterspiel" (projectos & Progestos Coimbra), A 1981 Portugal Performance In Collaboration With Peter Trachsel . Mr. Thoma Having Fun With Commodore Sx 64, C-lab Sequenzer, Oberheim Xpander, Tms Synthesizer & Polyphon And Serge Modular Music System.

Freshly based in London, Cabasa mixes up his own UK influences with what his dad has been listening to at home since he's a kid (electronica, jungle, acid-house...). What comes up is a subtle fusion between ambient soundscapes and percussive sounds, from 90 to 180 BPM. He seeks for boundaries between beatless and rhythmic compositions.

Coming from different regions in France, Violent Quand On Aime's members have joined forces to canalize their energies into something truly essential. Far away from hype and expectation they have created their own peculiar world. Expect a certain electronic griminess with hints of 90's hiphop, postpunk alienation and an affinity for Musique Concrète. The overall experience is similar to the excitement one feels when hearing something genuinely original. This mini-album is the follow-up to their very impressive 7' on Le Syndicat Des Scorpions.

Transparent Red & Black Mixed Vinyl

After 3 years SNTS releases on his label SNTS Records a 4-track EP , getting back to his initial and characteristic sound. Textures, voices, percussions and an intense melancholy surround every track.

First up is Carola Baer's The Story of Valery, which is comprised of music from a one-off demo cassette found in a thrift store. Beautiful personal & emotionally resonant drum computer mantras in the key of Dead Can Dance, The Cocteau Twins and classic 4AD.
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The discovery of a cassette of Carola Baer's early 90s private home recordings was like finding a needle in a haystack. Made as a one-off mixtape of newly recorded songs, and given to a long-since
forgotten recipient, this cassette was found in 2017 at a Goodwill "bins" location in Portland, Oregon. These chaotic, by-the-pound thrift stores contain 1000's of unsorted items in constant flux, which are only available for the public to buy for a limited time before they are discarded. The prospect that this obscure relic would be rescued from its untimely fate is nothing short of a miracle. As this tape was the only one in existence, with no back up versions of many of the songs, it's more than likely that this
music would have been lost forever.

The Story of Valerie is made up of songs culled from that cassette, with a few additional tracks from the time, and is the first time Carola Baer's solo material has been heard by the public. The intense emotion of the music is brought upon by the primary themes of the album: the cruelty of humanity, isolated life as a British immigrant in the US, and the pain of doomed relationships. Despite being inspired by classic 4AD acts like Dead Can Dance and Cocteau Twins, Baer's home recordings have a sound and style that is uniquely her own. Many of the tracks feel like musical exorcisms, with Baer's spine tingling voice soaring above minimal arrangements for Yamaha DX-7 and Casio CZ-101 synthesizers. Like finding a stranger's diary, the listener is granted access to music that is emotionally
raw and deeply personal.

Pure DDR-groove! The Exorcist is a gothenburg-based trio consisting of Osynlige Mann, Pontus and Petrus - members from bands as Uran, Tentakel and ultra Satan.

Hoga Nord invites you to their soundscape with their full length debut album The Exorcist GBG: Everyone could be an informant. The cold war is alive. Dark Cabaret. Spy-theme-mode. David Lynch-electro. Italian horror. Easily put - This is kinky organic acid-funk for all of you looking for a gateway - but know you have to stay.

RAVEDIT presents dance/pop music in the style of Rian Treanor. Across four radical edits, familiar and obscure ohrwurms are dissected and flipped in thrilling new ways, rendering razor sharp
and playfully nutty updates of Pakistani film music, Eurodance set-pieces and seminal synth-pop classics.
Rian extracts and accentuates their hooks in series of jabbing, asymmetric reductions for the 'floor with results intended to rewire muscle memories and inject the club with a healthy dose of
advanced daftness. In each part Rian exerts a singular spin on timeless evergreens, demonstrating his roots in hip hop and UK dance music's sampling cultures, while exemplifying an inexorable, personalised push for new patterns of dancefloor possibility.
All material has been thoroughly disruptive in a variety of situations, from midsummer rites at IMMA to Radio 1Xtra to freak raves in Salford and, most recently, as part of Rian's Boiler Room
performance in Helsinki, the latter of which drew opposing criticism from its YouTube viewers; prompting Wayne Cloete to remark 'what do you call this cos it aint music its like a production
that went wrong or still trying to figure out the beat', whereas Viktor Štech claimed Rian to be a 'genius with rhythm.' To be fair they're both right, but only one of them knows it.
Basically the A-side is mental party fuel - especially if you like alcopops, Lollywood soundtracks or Ferris Bueller's Day Off - while the B-side turns 3 mins of '80s pop brilliance into a 14 minute+ monster cannily riffing on the idea of deferred gratification.

Berlin-based duo ONTHEGROUND which consists of Myztical and Diagenetic Origin, is about to release 'Role Of The Observer', their follow-up to last year s debut EP 'Touching Higher Ground'. This record is a snapshot of their creative development and hard work which took them at least a year to put together.

The A Side takes up where the last year's EP left off, establishing a template of industrial pummeling techno with a focus on irresistible, broken groove. A1 'The Power Of Prayer' is a powerful banger droning synths and dislocated samples build up the anticipation, before massive kicks drop and propel the tension onwards. A2 'Controlled By Faith' is similarly destructive on the dancefloor, a bundle of rasping, dirty rattles that drive on relentlessly in funky delirium.

The B Side delves into the darker, more elusive recesses of the duo's creativity. On B1 'Ancient Cycles', distorted rumbles morph over pattering, primordial percussive patterns. B2 'Role Of The Observer' ratchets out a heady mesh of fragmented, disorientating textures over frantic, propulsive beats.

Coldgeist's music on Unknown Bodies is an intimate reinterpretation of coldwave, techno and dark ambient codes, uttered with strength, guts, and an underlying romantic soul. Inspired by nocturnal runs of "bosozoku" bikers clans, who stem from this japanese subculture of the late seventies ; Coldgeist has created a series of soundscapes and songs that evoke speeding through foggy nights and fluorescent lights. Haunting repetitions and stiffness of the rhythms as a metaphor of mechanical gestures, of bodies turned into units of consumption, stranded from the life and passion they crave. The frustration of a youth that only finds relief in extreme experiences, danger, and the sexual tension of speed and crashes. With analog and digital instruments, field recordings but also his own voice and songs, Coldgeist has bred a truly unique record.

From the very first track, it's clear that Abby Echiverri's debut, the 'Ab Initio' EP is something different and rare: a polished and fresh interpretation of electronic music that incorporates classic electro squelches with intricate broken beats and expansive synthesizer zone-outs.
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Although this is her first EP, Abby has extensive history as a musician, sound engineer, DJ and VJ. Her current trajectory started early in childhood when she was classically trained in violin, flute, piano and vocals, cementing music as a part of her daily life. In high school she picked up turntables and began collecting records, eventually moving to NYC to study recording engineering and perform in post-punk bands, and became a regular at Wierd and The Bunker at a very young age. Since then, Echiverri has devoted her professional hours to engineering, maintaining, and manufacturing audio equipment for studios and clubs around the world.

This record's name 'Ab Initio' means 'from the beginning' or 'from first principles', invoking a propulsive leap into the future and also perhaps including an element of the eponymous. When we asked her to tell us more about the process of creating these hardware-based jams, Abby explained: 'It all stems from my own experiences on the dancefloor and wanting to recreate that for other people. I want to make music that rewires the brain: music that is challenging, yet groovy... repetitive, yet evolving. An aural psychedelic. It's a lofty goal - I'm still working on it.' If Ab Initio is one of her first steps towards that goal then we can't wait to see what happens next.

(LP+CD


"I use music as a medium to talk to other people", Sun Ra once revealed. The Düsseldorfer Stefan Schwander would agree with this statement by the avant-garde jazz great, though he would not necessarily sign his name to it. He also speaks to people through music. Yet he also likes to let music talk to music. Since 2008, as Harmonious Thelonious, on numerous EPs and two albums, he blends the reduced patterns and structures of American minimalist music with African, Latin American and Caribbean rhythms. For his new work "Santos", which he sees as an LP with a unified concept, he embarked on a mental journey to the north of the African continent and became entranced by Moroccan trance music. The resulting pieces are light, with traces of pop, interweaving the atmospheres of the Master Musicians Of Joujouka and Gnawa music with the driving force of techno. This time Schwander invited a handful of guest musicians to serve as sound sources. The Berliner Ghazi Barakat, former bass player of Stereo Total and man behind the psychedelic experimental project Pharoah Chromium, contributed modified sounds from his Moroccan flute. A second guest musician is the Cologne-based composer Volker Zander, who has long played double bass and electric bass with Calexico. For songs like "Mountains" or "Belloumi" he played a melody on the Turkish Tambur, lending an oriental flair to the vital rhythms of the tracks. The intricate rhythmic patterns also incorporate instruments such as banjo, mandolin and Afro-Cuban drums, played by the percussionist Stefan Suhr, who studied Afro-Cuban ritual drumming in Cuba. Schwander's electronic sequencing blurs these organic sources and brings them into a fluid dialogue with his electronic ideas. For a piece like "Rendez-vous of the Dead", for example, Harmonious Thelonious projected himself out of the studio onto the Djemaa el Fna square in Marrakech. Here, every evening after sunset, local musicians meet and play themselves into a frenzy on distorted mandolins. Harmonious Thelonious translates this dream into a quaking dance monster whose home might be a techno club with an experimental sonic approach. Of course, most of the pieces of "Santos" are heavily danceable, although this time Harmonious Thelonious' tracks roll a little slower than previously. Their rugged beauty has also given way to a very smooth sound. His music, however, has lost none of its complexity. The many voices speak together, propelling each other toward something that traverses traditional genre boundaries, creating a playful trance. The cover of "Santos" underscores this: It is a collage designed by the artist himself, depicting his notion of an all-star band. Everyone must decipher for themselves exactly who is to be found there. Here, once again, the pictures are not direct portrayals, but veiled references to an emotional state hidden far beyond the visual realm. Just like the music of Thelonious Harmonious, which uses various layers tell countless stories.

Warehouse find! Produced by Monte Cazazza in 1996.

An astronomical conjunction has cropped up. Arpanet is back after a long interstellar hibernation and 30drop comes up with its particular vision of the abstract Elektro for the very first time.

'Phases EP' takes the primal Warp's heritage blending hypnotic melodies with rhythmically complex patterns.

Arpanet, which keeps the exquisiteness of its previous works for Rephlex, among other labels, gazes into the black profoundness of its own and unique universe.

30drop's two cuts, ostensibly touched by the Aphex Twin spirit, are a spellbinding exercise of style.

'Phases EP' is experimental, atmospheric, rhythmic and, above all, flawless. This enthralling EP is presented in electric blue vinyl. A special shape for a very special alliance.

To Follow A Long Awaited Single From The Legendary D'arcangelo Brothers, Happy Skull Has Turned To A Friend Of The Family And Former Bristol Scene Stalwart, Bass Clef.

The Long-serving Producer First Rose To Prominence Via A Series Of Inspired, Genre-mangling Albums And Singles On Blank Tapes, He Has Since Gone On To Deliver Hard-to-pigeonhole Material On Fellow Bristol Labels Punch Drunk And Idle Hands, As Well As Pan And The Trilogy Tapes Amongst Others.

Those Versed In His Bulging Back Catalogue Will Notice Familiar Stylistic Traits Throughout - Think An Endearing Looseness Built On Hardware Manipulation And A Playfulness Rarely Seen In Modern Dance Music. For His Happy Skull Debut He Takes On Acid House, To Great Effect. This Is Most Evident On Flipside "acid Hearse", A Constantly-rising Roller Built Around A Nagging, Tb-303 Style Riff And A Swinging, Off-kilter Drum Machine Rhythm.

Echoes Of Acid Can Also Be Heard In The Sparser A-side, "charnel House", Where Sharp, Psychedelic Lead Lines And Mind-bending Electronic Motifs Weave In An Out Of A Crunchy Rhythm Track To Create A Track That Is As Fun As It Is Weighty.

Out-ER sub-label Pregnant Void is proud to announce the release of hi.mo's debut album Urtiis. Landing on double vinyl in June 2018, it is a fantastically absorbing showcase of the Italian's weird and wonderful fusion of various strains of sound from jazz to hip hop to classical. "The alteration of conventional musical patterns thrills me," says the artist who is classically trained in piano and uses that knowledge to play with rules, structures and forms. Influenced by IDM, African drums, jazz and the interplay of chords, rhythm and harmony, hi.mo infuses his electro-acoustic productions with found sound samples and analogue and digital tools. This is a spelling-binding and intimate album that is filled with invention, but never at the expense of the overall experience, which is beautiful and beguiling throughout.

Even darker and more extreme than #1, with a.o. Legowelt, Kassen, Schmerzlabor, Nimoy, Technician, etc.

A past affiliate of Richie Hawtin's Minus label, Berlin-based expat Kevin McHugh (aka Ambivalent) joins the ranks at CPU under his more recent alter ego of LA-4A.

McHugh launched his own Delft imprint in 2013, which saw the birth of LA-4A, initially an anonymous production handle.

On Slackline, McHugh delivers 4 tracks of uncompromising techno: you'll find interwoven breaks and refined sampling, and as the track entitled Punishment clearly suggests, only the hardiest of techno fans will survive it's onslaught.

Urge Theory' is the debut solo EP from Japanese artist Maiko Okimoto aka Lemna. Following on from her collaborative EP as Ourea alongside Sam KDC, Urge Theory sets about establishing the Lemna style. Rollicking hypnotic polyrhythms and a distinctive touch to creating driving tension are Maiko's signatures, with a track like DLPFC interjecting an elastic vigor into her style. After introducing her live set to Europe at Berlin Atonal 2017 to rapturous applause, Urge Theory delivers on the promise of a new sound for modern techno.

Inner Surface Music is proud to present its next release from Canadian duo MDD.

Falling Inside opens the ep bringing together industrial and punk prototypes of the duo's influences in the shape of a techno stomper. Chunky kick drums and gnarly textures fizzle and pop to the march of the industrial rhythms before the low slung bassline and abstract vocal cuts take the track into a darker realm. Tension builds and welds together heavy broken kick patterns with crisp but rusty percussion demolishing everything in sight. The elements amalgamate together creating tension with walls of sub bass, while remaining spacious and nonchalant with glacial atmospheric pads, dropping and breaking like a thunderstorm overhead.

Truth + Method has a pulsating punk like groove, pumping kick drums play off lacerated snare and high hat hits. The groove is relentless, funky bass lines, distorted vocal stabs and obscure concrete style pads fabricate as if melting in the tape machine. Techno music with an organic industrial feel, warm analog sounds with a metallic and vicious sensibility.

Destruction Of Metaphysics is a true representation of the MDD sound. Dark playful electronica walking the line between industrial, experimental and techno. The distorted bass and percussion are fully over driven in the mix pushing the elements to the extremity, clanging piston like snares drop to give structure to the savage groove. Noise and textured elements build and reverberate to let you feel like you are trapped inside the machines of a huge power plant, reduced but elaborate in style and experimentation.

London based experimental publisher Split Music has rapidly gained a unique reputation for its expertise in placing music in audiovisual projects, from Hollywood movie trailers like Blade Runner 2049, The Dark Tower & Mother to brand films for globally recognised designers Adidas, Dior & Puma. This reputation was affirmed this year upon winning the prestigious Golden Trailer Award in L.A. (for the use of These Hidden Hands' music in the brutal RAW Worldwide trailer). Now, from their headquarters at London's live music epicentre Village Underground, they have launched their latest project: the Research label. This new label will showcase the artists they represent by challenging them to push the boundaries of their production process to new levels.

Brainwaltzera and Analogical Force move along the same path, without questions, and always looking forward. "Bunker EP" is the new piece of the puzzle, perfect to increase the legend to infinity.

Johnny L's classic gets the re-whisk from a solid set of UK bassheads... TIP!

At the tail-end of 2017, XL Recordings reissued Jonny L's seminal D&B album 'Sawtooth' on vinyl for the first time. A move that further cemented the record's game-changer status, DJ Mag hailed the record as being still the future', while Resident Advisor said 20 years later, Sawtooth still sounds like an outlier.'

So after showcasing this 20-year-old classic, XL Recordings are today releasing a 12' containing remixes of the most iconic track from the LP, 'Piper'. With efforts from Peverelist, Overmono, Powell and Zomby, these remixes go some way towards showing the influence Jonny L's music still has on a wide range of contemporary electronic artists.

In their own words:

Peverelist
I was 18 when 'Piper' came out. It was a time when drum and bass was evolving rapidly and tunes like 'Piper' were at the vanguard of that change. I remember there was red and green 10" versions of the single, the red one had the Grooverider mix on, a subtle reworking of the original. I could never figure out which I preferred. My remix is influenced by both, stark, mechanical, robotic and futuristic but rolling with a deep groove, hopefully I've retained that.

Overmono
There's so much gold on the XL back catalogue, but some of it shines more brightly than the rest. 'Piper' is one of those tracks that has genuinely stood the test of time - an understated classic.

Powell
I'll never forget the snap of that snare in the club and Piper's kind of rigid, uptight sense of funk. It was a huge tune for me. I was hooked on that whole stripped, ice cold, tech-steppin' sound — neurofunk as Simon Reynolds once called it. I wanted to explore that feeling of sleek, skeletal coldness in my remix. Huge tune (the original, not mine , ))

Zomby
Been dancing to his music since hurt u so came out

The second release this year from Tom Dicicco and AnD's Inner Surface Music maintains the Various Artists theme of the label's debut transmission which featured music from AnD, Sunil Sharpe, Ascion and Truss. Titled simply EP2, the new record welcomes ISM debuts from ferocious Japanese producer Yuji Kondo (aka Ducerey Ada Nexino), Spanish deep techno purveyor NX1, Repitch Recordings co-founder D.Carbone, and a new track from Tom Dicicco.

Having tamed last year's havoc and disparity into the damaged rapture of 'Layers of Reality,' Anthony Linell is opening a new calendar with the sheared isolation of his latest album, 'A Sense of Order.' Linell has put his toolkit for summoning euphoria aside here, instead sculpting a glowing, diaphanous fog that swells into pensive melodies and arpeggiated whispers. Graceful for the way in which it makes the bleak hospitable, the charm of coldness invites us toward the empty and the beautiful, and away from the miserable.

year after their debut on the label, Crossing Avenue return with five more sublime techno tracks on Spazio Disponibile. That first EP remains the only outing for the pair of Andrea La Bombarda and Andrea Montrone, and this new one is another experimental trip into mind melting grooves. Opener 'Laguna' is a loopy, liquid track of fluttering drums and rubbery kicks that never lets up. 'Ortica' is more gloopy and wonky, with firmer kicks and aqueous sounds dripping off the groove, while 'Lyra' is beautifully delicate and intricate, with underwater life forms drifting by as gentle xylophones sounds dance around. The masterful minimalism continues on the dark, undulating and alien 'Vilipendio,' and things round out with the paranoid voices and panning synths of 'Mekong', an unsettling track that has you looking over your shoulder.

"Resist the categories that define and divide"

Uncanny Valley EP sonically explores the uneasy, obscure but familiar relationships between human and machine in contemporary life. This is the debut release on RESIST, the record label launched by experimental club/art hybrid event from Belfast, Northern Ireland. This debut release is by RESIST event and label founder, Koichi. Remix comes from electronic music innovator and Eotrax label owner, Eomac in an anxiety driven, frenzied remix of the title track.

Jagged and angular sonics, and warm organic artefacts are the defining sound of this release, which imitates the theme behind the music. Machines are being engineered to have a place in intimate and personal areas of human life. What does it mean to be human in this increasingly digital world Are we anything more than complicated robots made of flesh Where does humanity stop and the uncanny begin

Koichi returns with a new sound, signalling a departure away from his previous aesthetic and into a new direction breaking free from the boundaries and categories of restrictive genre definitions. His music continues to contain a heavy techno aspect, and also draws on raw industrial and experimental influences.

Koichi is an electronic musician, music researcher, and event curator who explores resisting exclusionary identities and disrupting discourses of power and prejudice through music and live digital art.

180gr Black vinyl, full colour sleeve. Our journey continues with an ep of pure ageless music for the dancing brain, four tracks dusted from the archives of this mysterious artist. Real name Alastair Johnson released only few eps and one album in the mid/late 90s and then almost disappeared, we are more than happy to have the opportunity to highlight this material. The other big great satisfaction is also to be able to involve the historical warp-affiliated duo B12 for a really deep and spacey interpretation. Have a good trip!
More from Art-Aud

55 minutes of relentless power electronics coming via courtesy of OAKE, presented for the first time on vinyl.

Originally recorded during a live performance in Marseille, 2015 and previously released on tape via Ascetic House in 2016.

'Live in Marseille' is now newly presented on 4 sides of wax which have been supervised and editing by OAKE, remastered and cut at Dubplates and Mastering, Berlin and pressed at Record Industry, Holland.

The 2xLP comes housed in a 6mm full cover record sleeve with each copy housing an individually, hand printed artwork and download code.

Katharsis was originally a regular party organized at the infamous Contact, Tokyo, the home of the electronic music scene in Japan.
In 2017 Katharsis Recordings was launched, with the first release being touted by many in the Japanese techno scene and played by the
likes of DJ Nobu at Dekmantel.The second release will be scripted with another compilation of 4 Japanese artists.

The first on the A side, Mikuni Kaido by head honcho Masafumi Take, is a fresh track that combines nostalgic arps and analogue bass.

The other main member Kannabi's track 'Shoka' on the B side is an abstract rhythmical piece that evolves slowly.

The second track on the A side 'Kirisame' is by a new member O-Ma. A modular synth enthusiast, his unique analogue sounds are a trademark
of his tracks.


The last track on the EP is 'Yoake' by veteran Ryogo Yamamori. The rolling beat and spacey synth sound gradually build up to a climax and
makes this track perfect for the dance floor.

All 4 tracks are distinctly different showcasing the identity of each artist. This new movement represents a fresh approach to the Japanese
techno scene.

In Pursuit Of Hardcore Techno Ballistics And Mutant Metal Alloys, The I Is Nothing Marks Five Years Of Samuel Kerridge Releases On Regis' Downwards With A Dread-fuelled, Nerve-Stepping Procession From The Steaming Rollige Of The Silence Between Us (2017). Balancing Blank-eyed Industrial Torpor And Dancefloor Lust In Four Forceful Designs,
Kerridge Firmly Pushes Forward With A Style That Owes As Much To '90s Tech-step And Current Minimal D&b As The Brummie Deviations Of Mick Harris And Karl O'connor, Or The Original Underground '80s Movements Of Nocturnal Emissions, Bourbonese Qualk And Muslimgauze.
The A-side Wrestles With A Serpentine Stinger Called Silent Notes, A Roiling Combo Of Ebm Drums And Divebombing Reese Bass Perhaps Imagining The Bastard Offspring Of Dj Trace And Drew Mcdowell's Modular Synth, While Fascination Sustain Strips Down To A Scudding Sort Of Electro-techno Idm Pressure Recalling Oberman Knocks Or Bitstream's Adapta Gear.On The B-side, Isis Frontman Aaron Turner Infects Propagates Of Desire With Masochistic Lyrics Buried Deep In Kerridge's Matrix Of Recoiling Ebm Kicks And Stuka Synth Drones, Then Actuality Repeats Stretches Out In A Hollowed Sphere Of 150bpm Electro And Spectralist Gloom.