Techno News

Marking 20 years of Prurient and Hospital Productions' concurrent paths, the epic 3 hr 20 minutes of Rainbow Mirror inarguably ranks among Prurient's most compelling statements. While still the blood child of Dominick Fernow, the album's massive scope demanded more hands on board, with Jim Mroz (Lussuria) and Matt Folden (Dual Action) lending their expertise before post-production by Shifted and mastering by Paul Corley cemented this towering work of Doom Electronics for the ages.

Offered up as 'a portrait in perpetual tension', and housed in cover art created as the first collage in the pre-recording era of Prurient, Rainbow Mirror draws on the project's roots in order to locate itself in the modern day. What it finds in the process is that little has changed since Prurient and Hospital Productions' conception in '97 - the world is still a torrid, evil mess beyond control, and one that needs notions like Prurient to try and define its heaving mass more than ever.

Like Frozen Niagara Falls before it, echoes of the old world riddle the long, stark corridors of Rainbow Mirror, too. But here those echoes are more fragmented, distant and entropically obfuscated, emulating the effect of trying to find your own image in a hall of mirrors, or locating yourself drowning amid the clamour of more than 3 billion other people online, all saying the same, mundane shit at the same time.

With a length and intensity proportionately reflective of the world's increasing socio-political tension and rate of homogeneity, Rainbow Mirror holds firm as a space to immolate the senses in preparation for the ever nearing eschaton.

Granny13 opens with Nicola Ratti's 'Odd Doubt'. With the use of a modular system and tape loops, a broken rhythm is obtained by parallelism between single sound signals as LFO one or processed tapes.On the second side, Giovanni Lami's 'Johnny Leech' is made with a small bunch of equipment, just a chaotic hand-made synth (cacophonator) and a memoryman, working mainly on static electricity and leakage current in the synth used without any kind of power supply.

Reviews

The Wire
''Two Italian mucisians share a split single of glitchy fun and everyone goes some happy. Lami s piece uses a defective unplugged synthesizer to make huzzing chitters that have a kind of rhythm in spots. Ratti s contribution is a bit more structured it sounds like a record of accordion miniatures broken into pieces, then glued back together with little pieces of felt stuck onto it. Which would definitely be a pretty hep thing to hear.''

Textura
''Some releases qualify as art objects as much as musical collections, a case in point this recent seven-inch vinyl outing featuring material by Nicola Ratti on one side and Giovanni Lami on the other. That shouldn't be interpreted to mean that the musical content isn't worthy of one's time, as it assuredly is, but more to emphasize how striking the sleeve artwork by Opora is and how effectively it complements the musical content.Mastered by Giuseppe Ielasi and issued in an edition of 150 copies, the release opens with Odd Doubt, a concise experimental setting by the Milan-born Ratti, who's issued material on labels such as Anticipate, Preservation, Die Schachtel, and Entr'acte and who's presently working with Ielasi in the project Bellows, with Attila Faravelli as Faravelliratti, and with Enrico Malatesta and Faravelli in ~Tilde. Though Ratti started out as a guitar player, his current focus is more on beat-analog experimentation and sound installation. In Odd Doubt, Ratti's modular system and tape loops generate broken rhythms that varyingly call to mind dub-techno, even if dub-techno of an extremely wonky variety. Off-beat chords, crackle, and snare strikes add to the dubwise flavour of the material, though ultimately it registers as more of an experimental exploration than straight-up dub exercise.The flip side features Johnny Leech by Lami, a one-time photographer now known as both a field recordist and a musician focusing on soundscaping and sound-ecology. In his contribution to the seven-inch, Lami's chaotic hand-made synth (cacophonator) and memoryman give birth to blustery smears of static electricity that ultimately mutate into an Oval-like array of ripples and scratches. Johnny Leech is so removed from anything conventionally musical, it makes Odd Doubt sound like a Top 40 pop song. Like Ratti's piece, Lami's is short, so short, in fact, it gives the impression of being an excerpt from a larger sound art work. Here's a release where the abstract nature of the musical content matches its visual presentation.December 2014''

Vital Weekly 951
''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''Vital Weekly 951''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''Vital Weekly 951''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''

Mastered and cut by Rashad Becker at Dubplates & Mastering in Berlin.

Hana's first and self-titled LP was recorded in Autumn 2010 at Facta non Verba and consists out of 5 tracks which are techno oriented with disposal of experimental and abstract elements.

Reviews

OMG Vinyl
Hana s S/T LP is easily the best promo records we ve gotten in months. This Greek duo has somehow, almost entirely below the radar, released one of the most exciting electronic records of 2011. Their wobbly brand of techno sometimes chugs ahead at full-speed, other times easing back into a wider waver, almost resembling some weird, warped IDM. I will be shocked if this record doesn t get wider appreciation very soon. Whether that happens or not, we fully recommend it, track one down.

Cyclic Defrost by Oliver Laing
Granny Records duo Hana come correct with their first album, offering a refreshing take on techno and IDM variants in the vein of Jan Jelinek, Raime, Actress and hints of the mighty Chain Reaction label. Mastered at Berlin s Dubplates and Mastering by none other than Rashad Becker, a name that often appears in the run-out groove of artists who inhabit a curiously funky techno-not-techno netherworld Hana s debut self-titled release grows in stature and listening enjoyment with every spin. With a sense of fun and adventure inhabiting the grooves, Hana (who are also part of label-mates, Good Luck Mr Gorsky), explore experimental timbres and ghostly vocalisations with a lightness of touch that belies their recording credentials.

Starting off with an abstract, Clicks and Cuts style intro, Liv slowly finds the sweet spot between mutant Detroit electro funk, a hint of the indie/dance territory of Matthew Dear and the abstract, yet rhythmic 12 releases on the Beatservice label, by Norwegian duo Information from the mid 90s. Obermaier implies the groove to begin with, until a wrong-footed man-with-two-left-feet rhythm leads into minimal acidic flourishes. Album opener SM heads in a Ricardo Villalobos vs. Nonplace Urban Field direction, as the lopsided rhythm and sepulchral vocals add a haunted edge to proceedings. CR80 uses beautifully syncopated live drums and urgent female vocals, and adds a driving, belligerent synth riff falling somewhere in between DMZ and Gary Numan. Echoic, boingy sounds threaten to derail the beat, but somehow it manages to maintain, reminding me of Shed and A Made Up Sound; more in overall feel than in the specific sounds. For those that enjoy abstract electronics that work just as well on headphones as on the dance floor, Greece s Hana are a duo to watch.

Textura
Hana's self-titled debut album arrives saddled with a (literally) cheeky front cover one would more associate with a 70s band like Wild Cherry than a Greece-based techno outfit formed in Thessaloniki last summer. Recorded in fall 2010 at Facta non Verba, the five-cut release finds Good Luck Mr Gorsky members Thanasis Papadopoulos and Thanos Bantis hunkered down in their chemical lab concocting formulae to go along with their material's stripped-down techno beats. Using analogue synths, samplers, and sequencers, the duo brings a decidely experimental edge to their productions, sprinkling as they do liberal doses of burble and flutter over bass-heavy techno rhythms.
The opening track, Sm, sets the scene with a heavy low-end pulse thudding alongside a steady kick drum and joined by acidy synths and percussive effects that suggest a lighter being repeatedly flicked open. On a slightly more aggressive tip, the B-side's Cr80 adds truncated vocal yelps to its bleepy, elephantine throb. A dubby dimension emerges in the track, too, when echoing waves drift repeatedly across the huge bass that slithers across the track's underbelly. The album's most elaborate track comes last. Liv opens beatlessly with flickering shudders and what could pass for the amplified workings of an ant community but then progressively fills in the dots with an insistent beat pattern, voice fragments, and even the demented meander of accordion playing. Though Hana hardly rewrites the techno guidebook on the release, it's nevertheless a pleasurable listen, in part due to the multi-dimensional experience provided by the vinyl format and the always superb mastering work done by Rashad Becker at Berlin's Dubplates & Mastering.

Finally here we are with the fourth release on Last Drop Records, signed by the london-based Stavrogin. 'Collectors' takes a more subdued approach from his debut on Australian label 3BS, focusing on ampdriven ambient textures and digital experimentation. 'Sixty Acres' is a juddering mass of static textures and penetrative low-end, forcing itself to a crumbled close. Title track 'Collectors' is something like the afterglow. Weary and destitute, the track stumbles through heatwave-soaked atmospheres, fragmented voices stuttering like a malfunctioning android. 'Are These Actual Miles' is perhaps the most direct, with its tremors of noise punctuated by a rhythmic pulse. This is a feature Italian duo Ichinen have capitalised on in their closing remix, reducing the track to a warbling, dead-eyed drum workout.

Advance 12" of the upcoming Oscar Mulero album 'Perfect Peace', SEMANTICA 70 with some deep electronix!

You're Me's 2016 album, Plant Cell Division, sees its reissue on vinyl for the first time on the Knowing Something label. Newly mastered and presented across two 12"s, Plant Cell Division demonstrates attention and care to texture, melody, and rhythm.

The duo, consisting of Yu Su and Scott Gailey, delivers a recording warm and inviting, one that engages with the listener along multiple dimensions. With repeated listening, each piece reveals something new about itself, continually suggesting new ways to approach You're Me's imaginative and organic sound.

The 2xLP version arrives in a gatefold sleeve designed by Maggie Chok and retains the photo from the original cassette by Evan Mason.

From Ernst Thoma's secret vaults. First 2 chapters of Mr. Thoma's fun with the Serge Modular Music System and TMS Synthesizer, accompanied by Knut Remond on weird "laced square drum"

Live recorded at Raum 2 and at Koprod Studio Zürich in 1981 and 1982

Idiology was originally released in 2001 and is now finally back on vinyl. This re-issue is pressed on white color vinyl and presented in a die cut jacket with artworked inner sleeve and free download card. From their beginnings in 1992, Cologne native Jan St. Werner and Dusseldorfer Andi Toma have consistently challenged electronic music"s paradigm in often surprising and always intriguing ways. Idiology is the duo"s seventh album and is no exception to this rule, as Mouse on Mars surround themselves with strings, woodwinds, brass and the band"s own heavily modified fleet of machines in the St. Martin"s Tonstudio. Fans should once again brace themselves for the inevitable shock of the new as Germany"s most irreverent audio renegades have created the perfect soundtrack for a highly sinister dance party. Kicking off with "Actionist Respoke", the album"s first single, Mouse on Mars officially declare their independence from glitchtronica"s shoegazing legions. Longtime collaborator Dodo Nkishi lends a uniquely warped vocal sensibility to the track which already features Mouse on Mars"s darkest grooves to date. The rest of the album continues to thicken the group"s sonic stew. Tracks such as "Presence" and "Catching Butterflies With Hands" have their populist intentions undermined by Werner and Toma"s meddling hands, while the duo reprise their flirtation with the orchestral as heard on the opening tracks from 2000"s Niun Niggung. At the other end of the spectrum, "Introduce" is a truly evil slice of twisted lympho-zoid hip-hop. Idiology takes no prisoners in its dual-pronged assault on the conventions of modern music. Only with the loungy closing number, "Fantastic Analysis" (a term Werner and Toma invented to describe their working process), do Mouse on Mars let the arrangements breathe a long sigh of relief, the calm after the storm. To enable these stylistic achievements Mouse on Mars enlist the help of partners in crime such as: Nkishi, the multi-talented Harald "Sack" Ziegler, house icon Matthew Herbert on piano, violinist Matty Arouse, in addition to fellow programming wizards Adam "Vert" Butler and F.X. Randomiz. The latter two toured with Mouse on Mars in 2000 as they successfully triumphed over audiences around the globe.

About this release *First 10 tracks only come with the limited edition. Nijmegen's ESHU welcomes co-founder Ivano Tetelepta for his first solo release on the label. It is also the imprint's first full length, but Tetelepta's second album after the hypnotic drum workout that was True Colours, his debut on Fear of Flying in 2012. It comes as a double vinyl release with the first disc being limited, and finds the producer casting himself free from the dance floor and serving up a beautifully atmospheric soundtrack that would be a perfect companion for a nature documentary. When making EPs and 12''s, Tetelepta's smooth and infectious drums are always front and centre in his work, whether solo or as producing with label mates under the ESHU alias. He's also worked with labels like Siena and KERING, but here he shows another side that focusses on short pieces, melody and blissful sound design. To give this album its perfectly warm analogue sound, the whole thing was recorded via cassette and revox tape. The first ten tracks are short, immersive musical worlds with poignant chords and glistening melodies. Some twinkle and shimmer, some sound like an underwater eco system coming to life, and others seem to come from deepest space where solar winds and sonar pulses pass you by. It's cinematic and evocative stuff that takes you away from the here and now and into a different realm. The four tracks on disc two then start with Senang, a suspensory and multi-layered piece of music that has keys, modulations and samples wrapping all around you before Whistle Of Patience has a supple minimal drum line that slowly gets under your skin. Ede 2 Nijmegen is then a turbulent dub track which builds a darker mood before closer De Test sinks back into supple, rubbery and warm drums laced up with hypnotic pads that circle all around. This is an ambitious album of meditative music that offers a beautiful place to lose your mind.

Street sounds remixes and ambient noises dronified... music for the soul.

Following the intense sonic exploration of his work with Christopher Jarman as Dot Product,
Adam Winchester steps out on his own with a bold new body of work, his first under his own name, that further expands on his ideas about non-conformist sound generation.

Winchester had previously been immersed in the early days of the Bristol dubstep scene as Wedge, but in more recent times has applied his knowledge of sound processing and technology to more scientific means, using an array of tools to harness resonant frequencies and interference generated in the space around him.

The image that adorns the cover of this release was taken by Winchester and used in
Daniela de Pauli's Optiks installation, which is based around the work of a globally connected group of amateur astronomers who collaborated to beam images into space and bounce them off the moon. Only a small fraction of the radio signals carrying the images are reflected back onto Earth, where they are picked up by radio telescopes before being converted back into the original image.

The interference picked up in the process is the result of the vast distances the information travels, and the poor reflective qualities of the moon's surface.

In the grainy textures, crunching rhythms and steely tones that inhabit this EP, Winchester captures the same spirit of invisible interference by eschewing traditional production methods, drawing his sounds solely from a range of noise, feedback and resonance found in objects and physical spaces.

collecting orders for repress ... !

First official vinyl reissue of original cassette 'Fondation - Le Vaisseau Blanc'.

Fantastic cosmic, space, ambient and experimental music from mysterious French duo Annanka Raghel and Ivan Coaquette (formerly of Spacecraft and Musica Elettronica Viva). Originally released in 1983 as a limited edition cassette of only 500 copies on Camouflage label; this ranks up there with anything by Ash Ra Tempel, Agitation Free, Heldon or Richard Pinhas. Incredibly evocative and highly recommended.
Historic moment - a lost piece of the puzzle of the wondrous french avant-garde. This official reissue comes in a double album gatefold sleeve with archives from Ivan Coaquette collages. Limited to 500 copies.

Bonus : comes also with an insert with trippy photo by France Annanka Raghel herself and brief description of Fondation band.

Humans by Berlin based and Salon des Amateurs long term resident Philipp Otterbach is a deeply cinematic trip, wandering through a realm of voices, mechanic beats and slowly pulsating, desolated synthscapes. Humans is the first release on the new Tour Messier label, exploring the deeper spaces and outer regions of electronics, ambient and electro. Stepping away from the dancefloor Tour Messier is intended for personal listening, being connected to an intangible and endless universe through music.

The label Refined Productions was launched by Aleksandra Grünholz, graphic designer and producer as We Will Fail, and Jakub Mikolajczyk, head of MonotypeRec label and MonotypePressing. The concept is to run a 'slow label' to not get caught in the trends but to stop, watch, listen, feel and think, then listen again. Their goal is to reset the pace of electronic music output and create little gems that you will listen to over and over again.

STURQEN transform a raw, layered sounds into pure energy, leaving sound trails that resonate and make you go further and explore dimensions.

Southern Italian sociologist, DJ and electronic music producer Simone Gatto is about to release his second album, 'Heaven Inside Your Frequencies', in November 2017.

Gatto's second album represents a complete excursus of his personal and professional paths, into which he combines music, words, studies, researches and experiments. Along with the album, split in two parts and to be released on both his labels Out-ER and Pregnant Void, the artist is also releasing his first essay, named as the album; the latter offers a theoretical and practical analysis on the use of sounds and frequencies in diverse areas of interest, dedicating space to music therapy and primordial techniques as well as their application in the current digital and virtual era.

Both the album and the essay result from Gatto's personal experiences as well as his ten-year's artistic career: the love of his motherland and his parents, the first approach to clubs, the studies about the potentiality of frequencies, the electroacoustic experimentation and last but not least, the aesthetic sonorous research.

The the first part of the album showcases Gatto's experimental inclination for electronic and electroacoustic music; as such, the upcoming on his label Pregnant Void, has been created to enhance the sounds of the environment and personal panoramas by agglomerating artists, projects and publications. The second part definitely focusses on Gatto's dance personality and club vision, even so, it stays strongly connected to its first part as complementary for the artist's objective.

Ranging in between his favourite club niches, and collaborating with producers with whom he has shared embryonic projects, DJ booths or vinyl releases, Gatto prepares the audience for a complete journey into his idea of club music and grooves, featuring wide aesthetics and emotional resonance. It goes from the gentle tidiness of ambient and deep techno - 'No Te Olvides De Acordarte', 'Today Will Be Tomorrow ft. Kaelan', 'When I Was With You' and 'Limbo' to the intrinsic vitality of break beat, dub and funk tracks 'Caronte' and 'Holographic Drama' continuing with the dynamism of a typical Detroit techno brand of sound reinterpreted in a modern context, like in 'Forbidden Area' and 'Amazonia ft. Aubrey', and finishing with the joyful wildness of distorted sounds, in 'Jamming On The Couch ft. The Analogue Cops, OL047' in collaboration with long-time friends OL047 and The Analogue Cops; the last track, 'Il Canto Dell'Anima', is a partial excursion into the electroacoustic sound, articulated by ethereal soundscapes and piano arpeggios. The whole work is enriched by samples, field recordings and filtered vocals, sound elements which have been deeply explored in the first part of the album, confirming Gatto's aesthetical aptitude as for the club's universe as for the aesthetic sonorous research dimension.

'Heaven Inside Your Frequencies', recorded and produced between his motherland and other significant spaces and cities - the Ionian coast and natural parks of Lecce, his second home Berlin, the Whitney Museum in New York City and other significant places - 'Heaven Inside Your Frequencies' combines Gatto's theoretical background with personal and artistic maturity, achieved in the last decade. Simone Gatto's life, culture and emotions translate into a sonorous and written project, among sounds, frequencies and attempts to achieve empathetic communication with people. Specifically, the second part of the album in meant to increase the sensibility about potential interaction between performer and audience as for club contexts. The album listening and the essay reading are therefore complementary and equally functional to the achievement of the artist's goal: the empathetic communication through sounds.

Southern Italian sociologist, DJ and electronic music producer Simone Gatto is about to release his second album, 'Heaven Inside Your Frequencies', in December 2017. Recorded and produced between his motherland and other significant spaces and cities the Ionian coast and natural parks of Lecce, his second home Berlin, the Whitney Museum in New York City and other significant places 'Heaven Inside Your Frequencies' represents a complete excursus of his personal and professional paths combining Gatto's theoretical background with personal and artistic maturity, achieved in the last decade.

Night Blind is Richard Fearless' second release on Drone's white label series. The title track coalesced in the early hours of the morning as diffuse, Turneresque lights glimmered across the Thames and the container was pounded by a storm. Unnerving and melancholic yet with a glimmer of light, this is Fearless at his best.

On the B side is Cancan. With Xavier's spiritual acid head, Kenichi Iwasa, on percussion duties, this is one for peak time body shaking.

Both tracks were recorded and mixed at the Metal Box by Chris Blakey and produced by Richard Fearless.

After nearly a decade in the making, Zomby finally dispatches Mercury's Rainbow, his astonishing and uniquely formulated dedication to Wiley's series of Eskibeat releases, a.k.a. the cornerstone of grime.
Originally recorded over an intense couple of weeks while suffering from circadian dysrhythmia,
Mercury's Rainbow documents Zomby riffing on intricately hand-programmed arpeggios, using theories of colour and its relation to the sonic chromatic spectrum - the circle of fifths - to place an expressively avant spin on the Wiley Kat's slyding Triton squares and frozen, post-garage drum patterns.
Rather than simply imitating Wiley's foundational unit of grime currency, Zomby innovates with a structure of bewildering, modal styles, refracting 16 diamond-cut permutations according to a colour-sound spectrum of tonalities. In the process he effectively loosens up and liquifies the Eski riddim, rendering its bones and sinew in varying states of reactive, physical deliquescence or GIF-like micro-organisms.
For dancers and DJs, the fluid contours and viscous, displaced rhythmic anticipation of Mercury's Rainbow suggests myriad geometries for movement in-the-mix, and serves to single-handedly put to sleep a whole genre of also-ran, prosaic 'future grime' thru its methodical, inventively ground-up construction.
While it's difficult to say with certainty, if Mercury's Rainbow was issued at the same time it was created, it may have arguably altered the course of UK grime instrumentals in much the same way
Wiley's original template coined a whole new genre, essentially making it the last word in grime futurism, proper.

All Greg Beato productions! A compilation of sorts - the tunes THEY didn't want you to hear. Strong stuff!

Limited Edition gear on Mr Beato's on NI UN PERO label...

John Cohen aka Dead Fader first arrived on the label in 2016, with It Works 1 - a brace of warping, high energy electronic music compositions that while largely unclassifiable in genre, maintain a gloriously vibrant, emotive sensibility that owes much to early IDM excursions, and the more abstract tenets of the Krautrock genre. That said - the artist cites anything from Kanye West to Bach and back again as informing the decidedly experimental and potentially confounding work - and his latest offering for the Milan based label continues to riff on this open ended mesh of influence to great effect. The original material is buoyed by a formidable remix package, featuring Downwards affiliate JK Flesh - who turns in a caustic reinterpretation of FYI; Roly Porter of Vex'd and Tri Angle fame, who takes on Raw Food; and Planet Mu's Konx-Om-Pax, who's reimagining of Life Cycle closes out proceedings. It's an admirable line up, in keeping with the aesthetic concerns of Cohen's excellent LP - and the chosen artists turn in respectful but wholly personal work - making for an excellent addition to growing Parachute discography. PARACHUTERECORDS.

4 tracks that stretch across the versatile ASC floor oriented stylistic approaches - Point Of Origin dives deep with the title track, provides signature Grey Area experiments with Collider and Last Known Coordinates, and aims in a more straight ahead fashion for Ground Tracer while keeping the triplets subtle but evident. Deadly rhythmic perfection and crisp sound design like only ASC can provide across the whole EP.

Dungeon Acid, bred in Gothenburg's (Sweden) obscure music scene during the eighties and nineties, releases his second 7inch on Hoga Nord Rekords. Dog Acid and Sex Beat focuses on those remote corners where Jean-Louis Huhta have rooted his musicality. With legendary bands like Cortex, Anti Cimex and The Skull Defekts on his resume, Huhta is most definitely one of the most interesting artists in Sweden!
The music on this 7inch breathes sex, concrete and dark seas. The tracks differ in instrumentation but they expresses the same feeling: uncomplicated and straightforward components, perfectly balanced In relation to each other, shutting down unnecessary body function, aiming for your lower back. Spastic curling synthesisers rests upon soundwaves heavier than the swell against the Norwegian North Atlantic coast.
Dungeon Acid is the miner of your record crate - hard at work finding the nuggets in punk, rock and electro to develop the strict techno.

'Macht Macht Zement'—what does it mean 80s drums, synths and vocals, almost without context. Fallbeil, two soon-to-be men (aka boys), finish tracks at the rate of butchers kneading meatballs. Due to laziness and a lack of technique, everything gets recorded on one track and immediately thrown into the frier. Nothing is planned. First up, school detention followed by rough LoFi rap.The album contains a wide variety of themes, from mailmen to warthogs, from latecomers to sensible conversation, every track is created out of spontaneity. Two very short tracks on this album date back to 1999, when the boys performed as 'Funky Granatos' in the local youth centers. Sadly, their performances weren't successful. Nobody wanted to listen to them and almost every concert ended in mass brawls. The track 'Postman' comes from the duo's side project Grand Malheur and was recorded in 2015 in Bronxfeld. More output from this project will appear on various EPs in the near future. The album title 'Macht Macht Zement' originates from Tom Pötgen. Tom always wanted to throw the sacred hand grenades. We hope he does that right now!

Cassette + 7"

Fallbeil is an Acid duo from Hamburg. This C.90 Tape contains Fallbeil tracks, exclusively produced for this release.

Side A:
Exclusive track by The Orb - Suspected Hippies in Transit. Written and produced by Alex Paterson and Thomas Fehlmann at Lab, Berlin 2017.

Side B:
Exclusive mixed track - Fenin + Bus (w Dabrye) - Adeto + What is Paris - mixed together by Alex Paterson, at Lab, Berlin 2017

Single (12" vinyl, digital) will be released on the same day as the mix cd The Orb Chronicles (20 Years Shitkatapult) to celebrate the Berlin label that debuted artists like T.Raumschmiere, Apparat or Phon.o.

The single carries catalogue number 165 and features the kick off Mix-Track on B-Side and an exclusive Club track by the Orb on A Side.

130 BPM LTD 130 Copies.

Experimental Techno, ahrdwared sounds and quiet space... Beautyful sound creation or inconfortable noises... and, whatever, superb music. Dancefloor.

Experimental Dancefloor music, unformated and still ... exploring sweet and sour... First tune, called Oppression is a Revered techno kick Doom tune. Secodn track is a sweet shy volumed kick at 220 BPM still...And third A side track, Lobotomie Croissante is an obsessional Industrial broke npsychedelic track, a bit in the Olschool little 7'' witch i cant remember the name of^^ B side opens on Mutation, a 170 BPM speed techno/trie dark tune very new wavy ambiance... Special and precise ! Then comes an ambient dark indus tune called Ondes Robotiques. Terminal is a break electronica hard tune, in a AFX Ant-zenized style. Terminal is the name... good anme to close this EP. A record in a rare style nawadays , offering a real variety of unformated sounds, not so hard but still hard enough to be dancefloor ! MASTERPIECE !!

First ever vinyl edition of Justin Broadrick's crushing industrial turns as JK Flesh for Hospital Productions, combining the Suicide Estate and Antibiotic Armageddon releases for a greyscale spectrum of brutalist techno / abyssal acid dub / tramadol tribalism / noxious noise textures that's highly recommended if you're into Regis, Birmingham at night, Kareem...
It's an unflinchingly bleak representation of the world described in hard edged techno and shot thru with moments of affective, synthy pathos. In sonic and literal tone, the record forms a stark reflection on Justin K Broadrick Brummie stomping grounds, using demolished tower blocks as cues for some of the album's most affective moments, such as the wrecking ball assault of Bayley Tower (New Mix), the rubbled rolige of Stoneycroft Tower, or the 'marish zumby techno lurch of Bromford Bridge Estate, and all in a way that surely dovetails with the perceptions of anyone who has lived in a built p British area, or anywhere else with lots of
concrete and little sunlight.The other half of the tracks are taken from and titled in reference to Antibiotic Armageddon - the inevitable point when pill-gobbling citizens of the world are no longer protected against old viruses, and new ones. The tone of these cuts is understandably bleak af, too. Tamiflu dry-wretches a windswept passage of bummed-out dub techno breaks, where Squalene (New Mix])glumly follows suit with the clammy synth malaise of Ethylene Glycol and the knee-buckled crawler Thimerosal, which sounds like one of his Godflesh tracks in the process of terrifying itself to death.s

Alien Jams presents a new release by Wilted Woman called Home Listener. After releasing the amazing "Diary of a Woman" on She Rocks! earlier this year, WW is back with this sublime 5 track EP. From the onset, playful synth patterns mingle and coalesce, spiralling towards dizzy culminations. At times wobbly and disjointed, WW creates stunning compositions that would work magic on the dancefloor. Each track of Home Listener feels like its own paranormal entity, living organisms that develop and grow as the music unfolds.

First ever vinyl edition of Justin Broadrick's crushing industrial turns as JK Flesh for Hospital Productions, combining the Suicide Estate and Antibiotic Armageddon releases for a greyscale spectrum of brutalist techno / abyssal acid dub / tramadol tribalism / noxious noise textures that's highly recommended if you're into Regis, Birmingham at night, Kareem...
It's an unflinchingly bleak representation of the world described in hard edged techno and shot thru with moments of affective, synthy pathos. In sonic and literal tone, the record forms a stark reflection on Justin K Broadrick Brummie stomping grounds, using demolished tower blocks as cues for some of the album's most affective moments, such as the wrecking ball assault of Bayley Tower (New Mix), the rubbled rolige of Stoneycroft Tower, or the 'marish zumby techno lurch of Bromford Bridge Estate, and all in a way that surely dovetails with the perceptions of anyone who has lived in a built p British area, or anywhere else with lots of
concrete and little sunlight.The other half of the tracks are taken from and titled in reference to Antibiotic Armageddon - the inevitable point when pill-gobbling citizens of the world are no longer protected against old viruses, and new ones. The tone of these cuts is understandably bleak af, too. Tamiflu dry-wretches a windswept passage of bummed-out dub techno breaks, where Squalene (New Mix) glumly follows suit with the clammy synth malaise of Ethylene Glycol and the knee-buckled crawler Thimerosal, which sounds like one of his Godflesh tracks in the process of terrifying itself to death.s

upcoming vinyl release by wosto november 2017
industrial techno, dark synth-pop and crazy vocal style.
wosto generated a 6 tracks mini album with his toy machine instrument park,freaky trumpet and critical vocals about the meat industry from himself.
180 pcs. vinyl with limited handmade tar optics style cover
keep it zwiebelmett

winter, or a time which represents that season, in a metropole that appears to be moscow.
the visitor is taking metro no. 6 at leninsky prospect as he is on his way to the ballroom close to gorky
park. the air is icy, the sky is grey. a cat, previously hidden among the dirty snow, is crossing his way.
the closer he gets to his destination, the clearer he can hear music, music that reminds him of future
days.
the dimly lit room is only sparsely filled. on stage a graceful singer, capturing the room
with her presence. captive voices merge with chords played on yet unknown instruments - machine rhythms cycle in 3/4 time. the vigorous peasant dancers, following an instinctive knowledge of the weight of fall, utilize their surplus energy to press all their strength into the proper beat of the measure, thus intensifying their personal enjoyment in dancing. here, in the transhuman ballroom, time stands still and values are being dissolved by numeric progressions. spiritually allied, the visitor, the singer and the peasant dancers short-circuit the present moment while the last falling snow slowly turns into rain.with »walzerzyklus«, atom™ returns to raster to complete his series that has once begun with
»liedgut« and continued with »winterreise«. the 7 tracks, created in collaboration with russian singer lisokot, are subdivided into 3 pieces of 2 minutes each and 4 pieces of 3 minutes each, intentionally reflecting the 3/4 time of a classic waltz.

throughout the release, lisokot's delicate vocals are put into different relations to atom™'s rather cool machine music, either complementing or contrasting each other. in the same line, the 3
shorter leitmotifs' provide the main theme that is taken up repeatedly in the course of the release. the EP will be released on CD and as special vinyl edition limited to 300 copies.

Bologna's Yerevan Tapes project vivid sci-fi sound designs from producer/signer Marie Davidson and sound designer Invisible Church, making up the duo's first collaborative work, recorded during September 2016 - January 2017, and notably starring Theo Parrish playing cymbal on the 10 minute submission, Ten Years.
Spawned from a meeting at RBMA's Montreal '16 festival, Whatever Makes You Feel Safe locates her signature vocals far removed from the structural synth-pop comforts of her roundly acclaimed debut side, Perte D'Identité, and the Adieux Au Dancefloor LP for Cititrax, and elusively diffused into chasmic frameworks of field recordings and depth charge percussion deployed by Invisible Church.
In all three parts they feel out chasmic, void-like dimensions with a microscopic attention to textural and spatial qualities. Marie's vocals signify a ghost in the machine presence on Collage, rendered as silvery streaks and cluster-formed cloud of ferric harmonics perfusing drizzly street or industrial scenes worthy of a Bladerunner scene.
Never Release The Tension meanwhile isolates and focuses in on a blunted, atonal sort of post-industrial sound design recalling Mika Vainio in its brooding pressure, or even the elegiac glossolalia of Liz Fraser via Tropic of Cancer in its lamenting keen.
But the best is definitely saved for last with Ten Years, where speaker-drooping subs underline sheets of steely grey, phantasmic dissonance, punctuated by the patter and splash of Theo Parrish's cymbal work, and possibly betraying a hint of influence from first nation musical traditions as much as kosmische or avant BM.

Novo Line reprises the meter-messing genius of his Movements album with the Dyad mini LP - a brilliantly uncompromising follow-up for Ecstatic. Exclusively using the tools of '88/'89 professional recording set-ups - namely the Atari ST, but with a slight algorithmic alteration.
While it's increasingly hard to find new tricks in old gear, especially with the resurgence of hardware fetishism and the ubiquity of DAWs, that's exactly what Nat Fowler has been doing for the best part of a decade as Novo Line. By, in his own words, 'misusing one algorithmic composition program (not, by a longshot, a professional music production tool of any epoch) contained in 208kb of data on a 3.5' floppy disk',
He generates and explores new permutations of old music which, ironically enough, sound fresher or at least more innovative than a lot of new music in circulation right now.
Inputting ever-changing parameters of melody, and 29 year old algorithms, the machine's voice is live-mixed and presented un-rendered as maxed-out waveforms via 1MB RAM, resulting in a severely compressed and combusting effect that leave mastering and sound engineers the world over scratching their heads in puzzlement. However, the effect is equally enthralling to anyone whose ears have become overly accustomed to contemporary emulations of 'space' in electronic music, and genuinely sound unique in relief of the contemporary field.
The release poses a playful question: can a record be ambivalent as to which speed it should be played
Celebrating vinyl and futhermore physical media, the listener is encouraged to find their exact speed of preference with the RPM toggle and pitch slider, that nearly forgotten joy in modifying speed in real time without a CPU mediating between the listener and sound; some tracks stumble heavily at 33rpm like boulders in the tumble dry, while others flash by at 45. In the taut, recoiling thud of Monad, thru the frenetic pop edit of Ennead to the 'floor-curdling prong of Dyad Marcia on the front, to the forceful New Beat mutation Tetrad, and the mind bending Melpomenean Dyad which closes the LP, its some heavily challenging but deeply satisfying gear that seriously yet playfully messes with convention.
Essentially Novo Line is revelling in the pure spirit of computer music and the sonification of dance music as we know it - born in the '88/'89 phenomenon of techno-house music, including its Industrial/EBM precedents, and its New Beat/Euro House offshoots. And like John McCusker's delectable artwork of a beige room and monitors interwoven with tubular, computer generated follies, Novo Line provides a captivating perspective that shortcircuits nostalgia's illness to result in a killer vaccine against/for convention.

Listening to Unknown Path's Pathfinder for the first time is a claustrophobic experience. It's as if the tracks had been recorded to tape and left to decompose for 10 or so years, then dug up and re-recorded. A thick layer of grunge and an overall murky feel sets the tone for Path 0.1 and continues throughout the EP. Paths 0.2 and 0.3 add a more upbeat feel to proceedings, as the beats get scattered around like they were in a pinball machine. Path 0.4 finishes off the experience by bringing the tempo back down, while all the time keeping the uneasy atmospherics that make this EP a unique and rewarding listen.

* 9 tracks of live trouble makin' electro from Cutting Room (Hotrod) & GLM (Burnouts, The - respectively). Triple Chicane exposes HATB's impeccable live precision & the combined effort of six arms: no hiding behind the system here. Taken from their live debut at Resistance / Restraint x Steeplejack: Moopie (April 2017). Comedy and mathematics aplenty. Artwork by Robert Hecimovic Mastered by Corey Kikos.

MACHINE JAZZ brings you the dystopian sci-fi duo SEER (alter ego and collaboration of M. Parent and Maroje T.)! After their incredible debut release on Detour the duo keeps breaking the rules combining broken 808 beats with Hip-hop breaks, gnarly trippy vocals swelling over dissonant synth notes and sprinkles of dark IDM/EBM that brings pure raw energy to the dance-floor making time-space-mind become irrelevant.

Splendid production, full of electronica and deep ambiances, offering some techno, some breaks, and a lot a nostalgic ambiances... Sweet music. A superb album !

Masaki messaged Blueberry Records Soundcloud and signed an EP within a week. I guess sending demos is still a thing.

The concept of the EP is to demonstrate all the colors in Masaki's rainbow. A truly gifted studio engineer, there are many styles in which he moves across the mixing board.

Ark and Blessing are pure sound design ticklers. As if he decided to make an updated Blue-Ray instructional soundtrack. Soaring melodies and sub bass anchors the listener is literally pinned done by the pressure and beaten with an ugly beauty unique to Masakis style.

Dolci and Ilah both radiate on the dance floor like lost dark rollers from an updated mid 90's

Estelia and Fraewnuil demonstrate the beautiful thoughtfulness Masaki also possesses. Like a hidden runout groove, Masaki leaves the listener pensive and wrapped in a warm embrace.

D x