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Mexican Singer/Songwriter Graciela Maria has been singing since she was a little kid. Having livied in Mexico City for many years, she was part of the mexican electronic music scene and made music with local producers signal deluxe.

In 2009 she met berlin based producer Robot Koch in New York at his show at Coco66 in Brooklyn.
They started making music together and Grace was featured on Robot's album “Death Star Droid” as well as on the Ep “Listen To Them Fade”. 2009 marked the beginning of a journey both musically and geographically for Graciela, as she moved from Mexico City to Berlin and started playing shows wolrdwide with Robot Koch.
They played everywhere from the Sonar Festival in Barcelona to some obscure art festivals in Bulgaria and Tunesia.

With Many Places, Graciela Maria's stunning debut album, she steps into the light as more than just a featured vocalist on Koch's electronica and dubstep driven compositions: Her own music breathes the vibe of classic singer/songwriters like Tim Buckley and Elliot Smith, with the music and the production being even more organic and live sounding than on the previous Koch tracks. The songwriting took place all over the world, as Graciela traveled and lived in many places recently, accompanied by her little notebook and her digital camera, which she uses to record song ideas on all the time. The topics she deals with are both surreal and personal and leave it up to the listener to be interpretated.

Producer Robot Koch teamed up with friend and fellow musician Sneaky (Fingathing / Ninja Tune) to create this organic and retro futuristic sounding album, that incorporates Double Bass, Live Drums, Cello and other String instruments and well as a subtle touch of cutting edge electronic production which Robot Koch is know for. The track "Many Places" features a string arrangement by Fiora Cutler.

Graciela Maria is an artist to watch out for in the future as she proves to create timeless pieces of music that are appealing to Indie/pop listeners and lover's of electronic music alike.

Mexican Singer/Songwriter Graciela Maria has been singing since she was a little kid. Having livied in Mexico City for many years, she was part of the mexican electronic music scene and made music with local producers signal deluxe.

In 2009 she met berlin based producer Robot Koch in New York at his show at Coco66 in Brooklyn.
They started making music together and Grace was featured on Robot's album “Death Star Droid” as well as on the Ep “Listen To Them Fade”. 2009 marked the beginning of a journey both musically and geographically for Graciela, as she moved from Mexico City to Berlin and started playing shows wolrdwide with Robot Koch.
They played everywhere from the Sonar Festival in Barcelona to some obscure art festivals in Bulgaria and Tunesia.

With Many Places, Graciela Maria's stunning debut album, she steps into the light as more than just a featured vocalist on Koch's electronica and dubstep driven compositions: Her own music breathes the vibe of classic singer/songwriters like Tim Buckley and Elliot Smith, with the music and the production being even more organic and live sounding than on the previous Koch tracks. The songwriting took place all over the world, as Graciela traveled and lived in many places recently, accompanied by her little notebook and her digital camera, which she uses to record song ideas on all the time. The topics she deals with are both surreal and personal and leave it up to the listener to be interpretated.

Producer Robot Koch teamed up with friend and fellow musician Sneaky (Fingathing / Ninja Tune) to create this organic and retro futuristic sounding album, that incorporates Double Bass, Live Drums, Cello and other String instruments and well as a subtle touch of cutting edge electronic production which Robot Koch is know for. The track "Many Places" features a string arrangement by Fiora Cutler.

Graciela Maria is an artist to watch out for in the future as she proves to create timeless pieces of music that are appealing to Indie/pop listeners and lover's of electronic music alike.

Panickpanick proudly presents its latest vinyl release, featuring a repress of two timeless classics by the electronic music maestro Carl Finlow.

Adding an exciting twist to these beloved tracks, we’re thrilled to present Noha’s innovative reinterpretation, breathing new life into these timeless compositions.

Years Of Denial is back on Veyl with their second LP 'Suicide Disco Vol. 2'. The follow up to 2019’s 'Suicide Disco', the duo makes a triumphant return, elevating their distinct sound which fuses dark wave, goth, newbeat, post-punk, EBM, and techno. The LP features 12 tracks all written and produced at Ark of Noisevstudio, located miles away from the polluted noise of social turbulences, immersed in isolation, creative indulgence, and poetic writing.
From the start, 'Art Break' provides the perfect warm-up, gently cleansing the palette and re-introducing us to Barkosina’s lustful vocals with a slow-burning pace that only marks the beginning. 'Wrong' picks things up, injecting a dose of body music for an infectious piece that bleeds into 'La Pendue' which keeps the energy rising. Next up, 'Mr. Guillotine' delivers a razor sharp edge, carving out a fresh post-punk feel which then brings us to the brooding, 'Never Satisfied'.
'Lover’s Crime' marks the halfway point of the record and one of the album’s standout tracks. Undeniably seductive with an ominous feel, the pair keep this mood going with 'City Lights' and then smash things open with 'Dancing With Demons'. After the devious message sent with 'The Letter', we are submerged in the romantic melancholia of 'Death Of A Lover' and 'Regarding the Pain of Others' before closing things out with 'Social Anxiety' which features vocals by longtime collaborator Broken English Club. The result is an immersive journey through the pair’s self described, Suicide Disco sound, and further builds on the Years of Denial form and legacy.

Club music culture necessarily shifted gears in many ways during and after the course of the pandemic. Older participants found their way into other interests and younger participants took new reigns to orient spaces they felt good inside of. The agenda for the music, and the cultural industry surrounding it at large, took a more frivolous and “fun” turn. Clubs needed to recoup lost money, people needed more refreshing catharsis for their nightlife escape, and in some pockets scattered around the globe a newer and younger cadre of producers/promoters/DJ’s pulled optical cues from a scattering of “darker” influences to give an alternate aesthetic to the aforementioned “vibes” culture. In the midst of this, a large polarization of conceptual energy shifted within the compositional and utilitarian machinations of the club music culture leaving behind the brooding and cerebral placeholders for different kind of enjoyable hedonism. Terrestrial Paradise’ “Artificial Hell” harkens to another prescient time before that shift occurred. “Artificial Hell’ might just be an illustration of what all of this fun escapism encapsulates.

Terrestrial Paradise is the latest moniker from Montreal come Los Angeles based producer Jaclyn Kendal. Having developed and cemented her sonic positionality with releases on North American labels like Ascetic House and Summer isle over the years, as well as a series of monolithic live sets, Bank is pleased to announce Kendal’s Terrestrial Paradise first full length album “Artificial Hell”. Over the course of nine recordings, “Artificial Hell” gives a master class in pressurized industrial techno of the slower variety. Fitting with the legacy of Bank’s output since it’s inception, Terrestrial Paradise’s aesthetic sensibilities sit within the canon of a certain tinge of club music imbued with a sense of natural grit, sans pretense.

“Artificial Hell” nods to artists like Scorn, Regis, and 400 PPM while maintaining it’s own territory in the landscape of cerebral and brooding rhythmic techno. Ominous, mechanistic drones sit above succinctly exacted percussion composition and sound design. Throughout “Artificial Hell”, Kendal shows her proficiency with the push and pull of building and releasing tension. On tracks like “Salvation” and “Relativity” she melds her synth wash wallscapes with driving percussion, serving as both a hint and counterpoint to the the entirety of the latter part of the album taking on spartan ambient compositions as a way to keep the listener in a subdued stasis. This album is a statement piece from a long time participant in the North American underground music sectors. It reminds the listener through perilous, considered rhythms and darker drone impositions to cement themselves back into a place where not everything is always a good time.

Since 2016, Milkman has been a pioneer in India’s ever-evolving electronic music scene. From building the foundations of India’s warehouse-rave culture, to consistently curating international and local artists at the forefront of the electronic musical underground, Milkman has quickly become a formidable force. Both editions of its festival, ‘Terminal 1’ were highly well-received, and this year, Milkman brings its first ever release as a label to the world. Azu Hoyvoy’s music feels like it has a toehold in the world of left-field dance-floors, while also being comfortable in any post-apocalyptic sensorium you can dream up. This peculiar trait should not come as a surprise. The chaos, darkness, and simultaneous beauty of the city from which he hails all make for a hard cocktail of deep-uplifting-frightening-introspective fervor, spilling appropriately into this record. The twenty-three-year-old Mumbai-native’s previous music is largely dominated by RnB and Soul, and in some ways feels like the proverbial Jekyll to Future Literature’s Mr. Hyde. To the extent that Azu’s previous incarnation still resides in his darker counterpart, it shows in Future Literature’s multi-faceted grooves and syncopations that are relatively unique in this spectrum of electronic music. This collection of tunes finds a very suitable corner in the eclectic and forward-thinking home of Milkman, and the result is an enjoyably mind-expanding, if sometimes disconcerting record.

This project from Chris Connelly & Jason Novak includes a cameo from Mr. 23 of Front 242. This 2014 release was the first Wax Trax release in over 13 years.

As we continue our ever long winded hiatus from the dancefloor, we are happy to welcome a new group of producers to the label in the form of 00:AM’s fourth various artists compilation. Certainly not the only way we expected to come together this year, but we’re grateful to be able to cultivate another 12” to share with the world. Across the A Side, we are joined by three artists who we’ve had the pleasure of hosting and playing with in Montreal over the past couple years. Alfredo92 of the Axces crew in Copenhagen presents ‘Tente Hjul’ which gets the remix treatment from Mr. Action Shadow himself, Fett Burger. The result in something distinctly mechanical but not without a human pulse and a tear jerking conclusion. Fantastic Man then puts his own psychedelic twist on the hardcore continuum, taking the beautiful palette of his recent LP on Mule Musiq to the brink of insanity with ‘On Tha Run’. On the B side we find two new friends to 00:AM. We have a mandatory “minimum of 1 ESB tune gets played a night” policy round these parts, and so its truly a pleasure to release his ‘Sequential Dub’. Nothing less than a future classic, it’s dubby and understated, but a little quicker than you think. And finally, its a pleasure to introduce 2wo2imes, who delivers ‘Immune’ a deep and driving excursion into the wormhole. It’s a weird world, we miss you all, but we’ll keep doing what we know best, releasing and enjoying the music that moves us - no matter the time or place.