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Anetha will releases her second seismic compilation on her label Mama told ya entitled Mty-terre «Contre tout, toutes et tous, la terre demeure», just one year after Mty-eau «L’eau repousse les feux agressifs». Through earth element, the compilation comes up with the collaboration of 19 artists - 19 tracks, divided into 4 vinyls: Ane- tha has brought together a generation of young electronic music artists from around the world to get their hands dirty and produce some solid gems.

Late 80s / early 90s body music

Label text

" Attack Decay Sustain Release, or Adsr, was the name of Todd Nickolas and Dominic Paterson's high school synthesizer group, an outlet for their electronic music experiments recorded on Todd’s parents’ farm in Southwestern Ontario, Canada.

In the idyllic rural setting of the Nickolas' dairy and crop farm, the juxtaposition of natural ambience and the repetitive rhythms of the machinery merged within their youthful music- saturated subconscious and found its way into their recordings. This bucolic environment also inspired the teenagers to channel their restless energy into endlessly experimenting with whatever gear they could get their hands on and listening to a steady diet of new music.

A big part of that exposure to non-mainstream sounds came via CBC Radio's Brave New Waves program — a saviour for adventurous and curious listeners living outside of major urban centres. The title "Poised Over Pause Buttons" is directly borrowed from a live studio broadcast by Severed Heads, where host Brent Bambury introduced the set by saying, "Do you know how many fingers are poised over pause buttons right now?" The title is also a head nod to those early processes of recording onto cassette decks or 4-track tape recorders, and to the tape culture of the time, capturing favourite songs off the radio with precision and making mixtapes from owned or borrowed record collections.

Todd was constantly seeking new electronic music through those formative years — whether it was the futuristic space rock of ELO's “Time” in grade school, Skinny Puppy’s blistering electronic body music in high school, or the ambient bliss of Aphex Twin in university. The tracks coming from their studio in those early days were inspired by a steady diet of these new discoveries. They were rapidly devouring a wide variety of acts from 4AD and Wax Trax!, “indie” artists like Husker Du, Chicago house to Belgian New Beat, the On-U Sound label to Public Enemy, and all points in between.

The unreleased cassettes that Todd recently rediscovered (some of which are included on this release) are a flashback to that era of pure discovery but also a reminder of the explorations and achievements accomplished by the confidence of the fearless amateur. Over the past three years, Todd and Linus Booth have compiled their favourite glimpses from that '87-'91 period and present them to you as a personal reflection of that time and place."

180g Double LP (45 rpm) marbled transparent red Colored Vinyl in gatefold cover (Incl. Download code*). With 11 tracks spanning from the origins in 1990 to the rebirth since 2005, N9's most wanted releases are here, remastered by French sonic wizard André Dalcan, ready to get turntables at the right 33+8 mood, and get the white glove raised again!

"Escapism" is the second album produced by Piotr Rajski also known as Pepe.. Once again, he offered us music that is hard to close in one genre and is best described by the artist himself: At the time of creating this album, the world was absolutely dominated by the pandemic turning our lives upside down. Writing new music has became a way to escape from disturbing reality.
According to Paweł Bartnik who also mixed and mastered my first album "Afterimages", the second one is more colourful and vivid. I think he described well the idea I had in mind while recording the new tracks. I wanted them to stay in that dreamy tone which can't be referred to only one genre.
The record was pressed on 180g vinyl.

Limited version was made in 100 copies - each vinyl record has a different splatter color! "Very Limited Surprise Edition"

I found "Escapism" a great opportunity to combine my UK inspirations ("Vanity Fair", "wqrwy") and rap fascinations from Money Sex Records or Tartelet Records ("Realizm Magiczny"). While working on the album my biggest inspirations were i.a. Madlib, D'Angelo, Samiyam, Ras G, Jai Paul and Overmono. I'm extremely happy I could create some of the songs with such talented people as Moo Latte, Kasia Siepka from Byty, Paulina Przybysz, Immortal Onion, Baasch and Wuja HZG. Everyone's unique personality enriched the sound and compositions on the album.
The cover was designed by Beata Śliwińska "Barrakuz" and it's based on the summer photo taken by Kuba Olachowski. It's worth mentioning that it was created using analog collage technique.
And where did the title come from? The songs on the album are for me the way to escape from the pandemic and explore new musical areas. I just wanted to forget about all the laws, quarantines and restrictions. Imagination turned out to be the perfect cure for this.

Emotional Response returns with a second volume of its All Trades compilation which is named after its own NTS show. It is just as vast both in terms of style but also the eras it spans with a mix of dub, new wave, slow motion electronics and plenty in between. Tolouse Low Trax kicks off with the filthy dirty and seriously heavy dub glitch of 'Ossia' to provide an early highlight before the likes of Al Wootton get percussive and tribal with 'Altai' and Hlm38 channels some African Head Charge on another devastating dub cut. Later on, London's Good Block brings a little more light and sunshine with their lovely 'Strong Relax.'

Coming from a diverse background of equal amounts hip hop and rock, the producer behind the alias of nrl:ndr got into dance music late in his musical career. After playing in kraut-oriented bands like So Many Mammals, parts of that group reformed into the live techno outfit Tren Né, with the goal of fusing techno elements with live drums. Playing for illegal raves with a punk-like energy, nrl:ndr has cemented his relationship with his machines in service of the dance floor.

But his solo debut on blundar is quite far removed from that scene. To understand this music, one should be aware of the conditions under which it was manufactured. Reluctant to consider himself an artist in the traditional sense, nrl:ndr makes his music free of anticipation and without apparent goals. To glean into this outré musical space is like putting one's ear to the boarded up windows of the photograph that adorn the front sleeve.

The album makes extensive use of the Roland Jv-2080, a sample-based synth rack from 1996 with a distinctly clean sound. Our producer dives deep into the expansion cards (labeled after genres like “Hip Hop” and “World”) for curious and sometimes cheesy samples. But he also forces the Jv-2080 to do things which are not its forte, like the arduous task of programming decent kick drums.

Another technique that is testament to his experimental view on music making, is the idea of using sketches of unfinished tracks with different time signatures, and mash them together into something new - of which the results of one of these experiments can be heard on the closing track and its bilingual conversation between ambient and tribal.

Full of stunted rhythms and eerie melodies, the unclassifiable nature of the music of nrl:ndr lies somewhere in the vicinity of IDM, classical avant garde and private press synth. From the epic opening track - echoing the post-kraut drumming style of Michael Shrieve - to juggling with chopped up vocal samples and treading into almost trap-like territories on A4, he crosses into a multitude of genres without getting his hands too dirty with nostalgia.

White 140 G Vinyl, 33 rpm, printed 3mm spine Sleeve made of recyclable Bagasse carboard (made of sugar cane,linen & hemp) , black dust inner, cello, 60mm circle front sticker. E.VAX - the project of Ratatat’s Evan Mast - announces his new, self-titled album via Because Music,. Performing as half of Ratatat for more than the last decade, Mast’s music has reached an enormous audience with its bombastic merge of rock and electronic music, as well as through his parallel work as a hip-hop producer for artists such as Kanye West, Kid Cudi, and Jay-Z . His new solo album, E.VAX is a collection of instrumental songs, dolloped with moments of exploratory dialogue, disembodied moments that are equally disorienting and moving. The throughline between the songs on his new album is not a certain signature sound, but Mast’s feel as a producer. Though one song may lean heavier on snappy drums and another on the coo of an organ, they all share a similar sensibility. The songs are sincere, playful, inviting, curious, and contemplative—all characteristics of Mast himself. For this album, Mast loosened his attitude towards production, looking to capture some of the excitement of creation. He recorded at home, and then midway through the pandemic he spent time in Montana, recording in a friend’s art gallery. The blank space and isolation after so much studio time in close quarters allowed for a new looseness. He’d play songs at the wrong speed to see how it changed what he heard, or deliberately leave a melody untouched for months and then improvise over it after playing it anew for the first time. Unable to get lost in real life, he got lost in music. “I used to be way more precious,” Mast says about the album.

For Oleg Azelitskiy, known as DJ Slon, the nineties and the first half of the aughts were an era of "firsts". First squat parties on the banks of the Obvodny Canal and more legitimate ones at Tunnel, first proper techno club in Russia. First DJ sets, first vinyl records in his collection, first radio shows at Port FM. He is a true veteran of the Russian techno movement, who carried his love for the genre through three decades and inspired more than one generation of musicians. Album Nr. 1 is the first edition of his music on vinyl. It comprises the music that Azelitskiy made during 1995 - 2005, except for the track My 40th Vesna, produced in 2010.

Azelitskiy's love for techno was born out of contradictions. Thanks to the Soviet synth band Zodiac and the French pioneer Jean-Michel Jarre, he had loved electronic music since his childhood. When he grew up, he got into the dark, introspective pieces by Einsturzende Neubauten and Bauhaus. Not only does the wide-ranging palette on Album Nr. 1 reflect its creator's taste, it echoes the changing times of the Russian nineties. It was the time when confrontations with criminals were inseparable from the parties and get-togethers bustling with local artists.

His affection for various genres led to many monikers and projects, all represented here on Album Nr. 1. He recorded most of his music as DJ Slon. Then there was a project Zhutkiy Lazer (Scary Laser), where Azelitskiy made music that was more experimental but still techno-oriented, with the occasional help of his friend Aleksey Gaponenko (Lazer became a proper solo project of DJ Slon in 1999). There are also tracks under the aliases Mass Fatality, which combined techno and synth-pop, and Razrushiteli Mozgovych Uliev (Brain Hive' Destroyers), with its more direct tight techno tracks.

The music of DJ Slon sounds fresher and more alive on Album Nr. 1 than ever before. Noticeably, this record, first and foremost, is dance music. As a voice on one of the album tracks boldly states, we came to dance.

180g Double LP (45 rpm) black vinyl pressing, gatefold cover (incl. download code). With 11 tracks spanning from the origins in 1990 to the rebirth since 2005, N9's most wanted releases are here, remastered by French sonic wizard André Dalcan, ready to get turntables at the right 33+8 mood, and get the white glove raised again!

Childhood Intelligence’s 18th release by ADSR aka. Todd Nickolas & Dominic Paterson from Toronto, Canada. The 2x12” album presents mostly tracks written and produced by Todd, with A1/D1 being in collaboration with Paterson. "Give a teenager in a rural Canadian setting an analog synthesizer, a drum machine and a four-track cassette recorder and feed him a steady diet of 80s EBM, Post-Punk, Synthpop, Electro, Dub, Acid, Hip Hop and House, and you’ll get the kind of genre melding electronic-based music that Todd Nickolas has been known for since his early days of writing and producing." The end result is a versatile one, with “Passive Articulation” presenting abstract Techno - House - Electro visions, and fusing all the elements of vintage Intelligent Dance Music that we cherish so much: warm basslines, beautiful chord progressions, diverse and surprising arrangements infused with haunting melodies, hypnotic cyber sounds, detached vocal cuts and dubbed percussion.…Overall fresh & timeless classiness for the present, past & future.

Recorded various locations New Hamburg, Kitchener-Waterloo, Ottawa, Toronto, San Francisco and Los Angeles. ADSR greatly thanks those who were there from the start, those who joined along the journey and those here now.

Although his released body of work is relatively small, Dirk De Saever's EPs come with a rather unique aesthetic in sound. Once New Beat was established and exploded as a dancefloor craze in Europe, there seems to have been a bit of a flood of attempts at making “a hit” within the style, filter through most of that and you'll eventually land on Dirk's mini catalogue of top grade Belgian New Beat. This 12” is a compilation of De Saever's 3 EPs combined in one, featuring original mixes on the A-side and instrumentals on the B-side. First track comes with a simple synthesized melody that would have been New Beat chart material, but maybe the sampled lyric was too vulgar for radio play, and maybe Dirk didn't care. The kind of track that makes you think you already know it, yet it's still fresh to the pallet. A2 is like the soundtrack to a stroll down a rough neighborhood in the outskirts of Brussels when all of a sudden the drug dealer, obviously too high on his own supply, jumps out from behind a Friet met Maiyonaise stand trying to sell you some kind of illicit candy in rough translation from Flemish to enthusiastic English – take two of whatever it is he's selling and hope for the best. Later that night, in some warehouse after hours party the DJ plays A3 as your bad trip derails into full on nightmarish Belgian waffle brain damage - New Beat at its best. Always cruising around the 110 bpm marker, waiting to see what happens, no rush, nowhere to go, easy does it.

Samuel van Dijk releases his third album as VC-118A on Delsin Records. It dives deep into the sonic narrative of VC-118A --who is also known as Mohlao-- and mixes up his unique sounds with evocative musical imagery. An album that goes from sparse, mysterious grooves to shiny underwater electro to frazzled and distorted techno via absorbing passages of ambient and overdriven machine workouts. It marks his first original work on Delsin, having released his distinctive brand of electro and techno on Frustrated Funk, Radio Matrix and Tabernacle before now.

Artificial Dance is very happy to announce the full archival compilation of work by Richard Zeilstra A.K.A. Genetic Factor. Recorded in different parts of the world, at different times - we hope this will give the world a glimmer of the mind of Genetic Factor. A mind that has been behind a variety of very influential operations during the years; including a string of radio programmes (Radionome & Spleen a.o.), working at Boudisque and running Barcelona’s first compact disc store!

A double disc affair housed in a deluxe gatefold sleeve that is only bleak in comparison with the musics featured on the discs. With songs taken from a wealth of recordings (and we’re only touching the surface!) that were safely locked in the Lab’s vaults.

The songs featured are not an attempt of making a coherent ‘album’ but much more trials of interpretation of his world into ‘music’. His strong believe in non-musicianship makes it more thrilling than conventional musics, yet these recordings are not result of amateurism - they form a consistent reality of what excites him. Take a dive in the realm of the Genetic Factor…

“Whether it is traditional or contemporary, we need to be authentic,” says Gözen Atila who performs as Anadol. “I don't claim that I am authentic, but this is what I want to achieve.”

A sense of authentic exploration, introspection and celebration coats every inch of Anadol’s latest album. After 2019’s Uzun Havalar, the Turkish artist returns with an album that continues to explore a variety of deeply embedded musical traditions while also hurtling into new terrain.

The music and influences - as well as the history, culture and geography behind them - that make up Atila as an artist all coalesce to create something entirely new. The result is something that is simultaneously exploring history and tradition, while harnessing innovative modern sounds and techniques. “If there is any tradition I am somehow connected to, or influenced by, then it’s multi- genres,” she says. “Such as Turkish Pop and Arabesk music from this country where I grew up. There is a connection to Folk and also French pop or Flamenco, Middle Eastern melodies and orchestration, Greek adaptations, Kenny G. solos, American guitars.”

This can be heard on Felicita, not in as much as you can link up the influences directly but in the way it glides across genres, eschewing convention and predictability along the way, to result in a kaleidoscopic experience. For the album, Atila found a talented roster of Jazz musicians in Istanbul who she recorded on top of her synth productions and field recordings. Soon enough saxophone, drums and strings began to stack up against preset drum loops from vintage organs. It’s a record where woozy psychedelic excursions bleed into dreamy synth lines, immersive ambience and the occasionally disconcerting yet incredibly tactile use of field recordings.

If it’s an album that feels like it travels through a variety of feelings, then it’s because the concept is loosely rooted in such a journey. Felicita translates as “happiness” and this album is something that explores the complexities of such an emotion. “I did not name the album like this because I just wanted to call it happiness,” Atila says. “A song like ‘Felicita Lale’ is a sad and confused song about a female character who can't get out of bed. It’s a funny rumination, in her thoughts, saying to get up and lie down repeatedly. At some point the lyrics say: "hep agla, felicita", meaning: "Cry all the time, Felicita". Like she is talking to happiness itself and telling it to cry. So it is not about happiness, it is more about the concept of happiness which can be very sad.”

Total turns 21 this year, and Kompakt’s venerable compilation series couldn’t have asked for a more auspicious coming-of-age collection. If Total 20 was consolidation against the odds, the Kompakt crew producing for a dreamt-of dancefloor in an uncertain future, then Total 21 feels abuzz and alive with possibilities. Significantly, it’s the first Total in some time that’s streamlined down to a single disc; this makes Total 21 even punchier than usual, a joyous, reflective, and always thrilling 75-minute audio scan of the world according to Kompakt.

As with every instalment of Total, there’s a deft balancing here of Kompakt regulars and new blood. Of the latter, there’s a first appearance by Kollmorgen, remixed by Patrice Bäumel into an astral torch song; Amsterdam’s Nicky Elisabeth, offering up Roman FLÜGEL’s pulsating, arpeggiated remix of “Celeste”; and Captain Mustache swoops down into view, Play Paul in tow, with the dream-like electro lift-off that is “Everything”. Jonathan Kaspar also drops by with a new track, “Von Draussen”, a stealthy and lethal floor-hugger with prowling bass.

Elsewhere, there’s the lead track to Michael Mayer’s astonishing recent EP, “Brainwave Technology”, which not-so-gently spears the tech-futurist babble of AI, transhumanism and posthumanism, soundtracked by one of Mayer’s typically lush, glimmering soundscapes. John Tejada reaches back to the heyday of glitch and dub techno with the gorgeous “Spectral Progressions”, while the brothers Voigt & Voigt, on “Nicht Mein Job”, seem reinvigorated by the interwoven patterns and funky minimalism of the Profan days. Not to be outdone, Jürgen Paape kicks Total 21 with “La Guittara Romantica”, a chiming and lilting lullaby for woozy late-night reflection.

Throughout, it feels as though Kompakt are taking a moment to both breathe in the dust of the past and look forward to a bright future. Perhaps that’s why, on “Fasson”, Sascha Funke seems so confident, with pinprick melodies bouncing around a hall of audio mirrors, or why THE Bionaut returns with “Blue Sky Motor Lodge”, a song so moistly melancholy, so enduringly lovely, it’ll make you weep tears of joy. Robag Wruhme gets a little delirious on the ticking, twisting “No”, and then GUI Boratto mops everything up with the bubbling, bumping glam-stomp “Wake Up”.

That’s not all – spring for the digital and/or vinyl edition and you’ll get a new cut, “Happy”, from Michael Mayer, and Marc Romboy & C.A.R.’s “I Am A Dancer”. But however you choose to play it, now Total’s turned 21, it’s your duty to throw it the celebration to end all celebrations. Let the party begin, and don’t forget to bring a party favo

Solo album by Betonkust (Dutch for Concrete Coast). The vinyl comes with a booklet containing drum patterns used on the album, together with a download link of the original samples that you can use for your own music. This record includes a Bandcamp download code for the digital files. Short bio from Betonkust: I was born in Utrecht (1988). I grew up in a very small town somewhere between Amsterdam, Utrecht, and Hilversum. The so-called 'green heart' of the Netherlands. That means there's lots of nature. It was very boring and/or normal. A typical Dutch 1990s upbringing. I've been listening to house music for as long as I can remember. On cassette tapes, on the radio, it was everywhere. Now I live in Rotterdam and there's a lot going on, mainly in the area of electronic music. There is Operator Radio, Clone, Pinkman, etc. Most of my friends are involved in music in some way. The older I get the less I care about gear. I didn't use any expensive or exotic stuff. Korg Electribes (both the sampler and the synth), Korg M1, some Boss effects pedals, a cheap mixer, a Shure Sm57 mic, a cheap guitar. For this album everything was recorded in FL Studio. Some tracks on the album started like five years ago with a melody and slowly developed into a full song. Other songs were made one month before mastering. It really depends. But most of the work was done in 2020 and 2021. I think most of this album is about transience, giving up, the infinite sadness of humanity.

Single Sided. Vinyl with a couple of light scuffs. Still in shrink, but opened, copy 496/500

Presenting “Fire Zone”. Album written, produced & mixed by Zane Reynolds and pressed on 180g vinyl, by Ekster. Coming out May 2019, including poster 57x57cm artwork by the artist. Mastered & cut by Helmut Erler at Dubplates & Mastering.
The music of Zane Reynolds AKA SFV Acid celebrates lysergic life in small town America. His are urban hallucinations. Conceived in “business parks, strip malls”, in “blue collar luxury”. On a diet of “diner burgers”. From the self-released, hand-painted cassettes of his high school years, he has moved to work commissioned by locals 100% Silk, Japan`s Big Love, and Dutch imprint, BAKK. His latest long-player, Fire Zone, will be issued by Belgian label, Ekster.
The album continues to reference Zane’s Los Angeles home, and in this case the devastation that rages there every Summer. The concept however, reaching away from the horror and flames, to offer an escape.
There are moments, interludes, that hint at, and hide, something darker. Where drone twists from tape hiss. Bends. Out of shape. Where chords distort. Their degraded edges disintegrating. Charred perhaps? But Ai welcomes you to “San Fernando Valley”, and a low-riding 808 booms. Less L.A. More Overtown, or Liberty City. Its racing booty bass calmed by wind chimes. The rapid Electro-Funk clip countered by modal synths. Its sunny disposition reflecting the SFV climate.
Playful rhymes, fragmented dialogue, and answer phone messages, rub up against Rave sirens. Roland`s silver box squeezes out a Sci-Fi Jazz. Through ping-ponging percussion. Through a drum and bass battery. Punched by keys that wanna be horns. Rewinds that create a bin-blowing vacuum. Shore-line samples washing the more head-nodding tempos. Euphoria rising while a perfect beat pops and locks.

France, 1990. Fun Radio, NRJ, Skyrock set a new pace, and their crushing hegemony irrevocably marks the end of the free radio utopia. The giants become vital in the hit industry and carry on fuelling France’s greatest invention: la variété. A quintessentially French version of British dance pop with a very specific tang to it, too coy to emulate trendy clubs’ and rave parties’ music, europop cautiously tests the waters of what will soon turn into a tsunami : house music. Is house the soundtrack of the 90s? In Europe, it gave steam to comeback bands just as much as to the most memorable formations of the decade, while in France it paved the way for the global success of French Touch. “Real” house music emerges in early 80’s Chicago (where the Warehouse club, which allegedly gave its name to the genre, closes down in 1983). England’s acid house and Belgium’s new beat, its European offshoots, fed the cravings of tabloids in 1988 and 1989. The house music we’re interested in though, the type bound to soon overwhelm European charts, is already pretty far away from the afro-american music born in Chicago. So far away it inherited a new name: dance music. Just like it had been the case with disco a few years back, house and techno aren’t exactly in the good books – acid house and new beat even less so. And it’s precisely the genre’s mainstream iteration this compilation focuses on; the house en français, which strives to get on board the running train in 1990. The house which sports the all-over jean look, bandana, cap, chewing gum, peugeot 205 complete with snazzy beats on the radio. The big deal big fuss type, miles away from the original, underground house. It might not have been born in the nineties, but that’s clearly when house music became mainstream. What underpins house music might even be what is to define the decade to come: jingles and pin’s, megaclubs and clips. That and the hits. Very soon house is everywhere: on the air of the big radio stations and on TV, creeping in as far as kids’ programs. The French may not even notice, but they’re all listening to it. Meanwhile, music producers smell the gravy and, willy-nilly with the earnest, enlightened amateurs, propose their very own club versions, cross breeding French variété and house. The result: a chart and club ready ersatz that is to quickly seduce young audiences. Hits, that’s what we want – or tubes for the French, like in House Tube, one of the landmarks of this compilation. The tracklist, like the soundtrack to a club night that never happened, fictitiously reconstructs the fleeting moment when house made its arrival in France, bridging the gap between variété and eurodance. House quiproquo House music barges in like a UFO on European land. With the arrival of this repetitive, yet transgressive music, tabloids freak out, while widespread incomprehension over the genre inspires dubious misconceptions. The media are happy to suckle on the music’s popularity, though well hidden behind the veil of decorum: NRJ airs a remake of a famous new beat track, Rock To The Beat, in which, however, “ecstasy” is swapped for “fantasy”. Dechavanne, thoughtful as usual, calls fans junkies and nazis on his tv show, Ciel Mon Mardi – though the show’s theme song is nothing else than a house track. The footage became a classic, and the comments, sampled by producers, provided the vocals for a flagship new beat track (Dr. Smiley – L’Echo Dechavanne). The Dechavanne episode is representative of the general confusion surrounding this barbarian music; skepticism remained high, even (if not more so?) in the musical world. In fact, it’s the subject of the unequivocal House Tube: “House tube, bouse tube ; on n’aime pas vraiment le house tube House soupe, bouse soupe ; on n’aime pas vraiment le house soupe” That is: “House hits, house shit; we don’t really dig house hits House soup, shit soup; we don’t really dig house soup” The success of house music inspired many exasperated reactions, just like House Tube (the B-side of a deodorant ad’s theme). Laurent Castellvi, surprised that the joke-track he composed at the time still sparked interest, told us: “At the beginning of the nineties, house was all over the radio. It annoyed me a little that most tracks were based on the same two chords. House Tube is a joke, it’s me sitting at the piano playing two chords. And that’s what the lyrics say.” On the other hand and following up with the next track, Fred de Fred was clearly in the know. The Frenchman had moved to the epicentre of the English commotion, Sheffield, a few years prior to the arrival of house. That’s where Warp (Autechre, Aphex Twin) originated – and at the time Warp still went by the name FON, Fred already hung around in their studios. Robert Gordon, Fred’s pal and co-founder of the label, signs the remix of one of his 1989 tracks, Sous Sous. In 1991, he composes a record of songs, and when it comes to pairing a suitable club remix single, Fred knows what’s up. Je T’Aime En Amour, sleek rock, mutates into a syncretism of french chanson and nearly rave breakbeat (here provided in its “2020” version). Fred de Fred is exemplary of the variété-club crossover driving this record; his career started within the collective ZNR, he crossed paths with the likes of Alain Bashung and then the Stone Roses, was close to Warp, and ended up signing a record on Barclay. Studio sharks Electronic musicians are often referred to as “producers”. This emanates from the delimitation of roles in the making of recorded music, traditionally assigned as singer, songwriter and producer. The latter takes care of the recording per se; that is, he manages the project, rents the studio, hires the musicians (known as requins de studio – studio sharks – for accumulating studio sessions) and cashes in at the end. The artist in electronic music is the producer alone, who essentially combines all roles at once: totally autonomous in his home studio, he can do without musicians or singers. The moment we’re interested in is this transitory period in which the two types of producers coexist. On the one hand, the new producers, like Fred Rister with Everybody Dancing, who recorded in a shack on a 4-track recorder, according to the sound engineer. On the other, the revival of old brigade producers, always on the lookout for a hot deal. The producer behind Près De Toi is of the latter type – pursuing a long musical career though quick to forget Claire-An (and so did posterity). New beat’s heritage isn’t negligible : its pioneers fashioned the “new generation” producer formula, a one-man-band in his machine-filled home studio. They’re also the first to churn out major hits, hitting the floor of a few Belgian clubs and eventually making it to the European top 50. What seems like mad creative abundance (hundreds of tracks between 1987 and 1989) is in fact the work of a handful of Belgian producers, barely ten, hidden behind multiple aliases. Among them, Marc Neuttiens, Jack Mauer and Fabian Van Messen, who often work as a trio and produce some of the genre’s most iconic tracks. In the midst of which On Se Calme, produced under the name Bassline Boys, sampling none other than Christophe Dechavanne. It’s no coincidence then that Anne Zamberlan should knock on their door with in mind the idea of an antidrug track. She wants to make noise, they know how to make a hit. And the track has it all: proto-acid gimmicks, big beat, house piano, verses rapped with a hiphouse flow… It might have been great, but even a Virgin Megastore ad she appeared in two years later got her more success. À la folie, je danse This tale is also the one of the pioneers who brought house music to France, first on the radio, well before rave parties or Laurent Garnier’s nights in Paris. As soon as the early eighties, Robert Levy Provençal plays the edits of the young Dimitri from Paris on the airwaves of Radio 7. At the time they’re unusual: like one would use samples in hip hop, Dimitri loops soul, funk and disco tracks, creating extended mixes. He breaks down tracks, reducing them to a gimmick or a bass line, thus creating easy-to-mix tools for DJs and bringing them closer to the sounds of house and techno music. He soon becomes resident DJ on NRJ and hosts the popular show Hot Mix. Like his colleague RLP, Dimitri proposes a trailblazing selection, blending together French news and the odd new sound from the States. At the turn of the nineties, when europop wants in at the club, only these influencers master the dance side of things. There’s RLP, Bibi Fricotin, Dom T… And Dimitri, who becomes the assigned variété remixer, adapting dozens of songs that were never meant to make it into a club. The general tendency however is less to official remixes than to bootlegs: a “pirate”, unauthorised and often private remix – just like Jacques Dutronc’s Opium, stretched out into a nearly 7-minute-long mix. The nineties also set the stage for the first TV stars, the ones who become famous without anyone really knowing why. Take, say, Jordy, four years old. The kid, in his diapers, sings along a New York style, house piano production and somehow makes it to the top 50’s number 1. For years, Jordy plays out the role of the child star and demonstrates that dance music is a perfectly profitable affair: it fuels the radios turned juggernauts, and lands on TV, seeping through music programs… In 1989, Vincent Lagaf (a famous french TV host) dives in with Bo Le Lavabo. The pitch is simple: the TV host adapts a track well known overseas, Lil Louis’ French Kiss (without any direct reference), simply adding lyrics taken from a sketch. He’s rather clear on his intentions (“Well, that’s just how you make it to the top 50”) and has no mercy for a musical genre he clearly understands nothing about (“See? Easy.”). Single night stars The club is a democratic place where anyone can be a star for a night (a nineties remix of Andy Warhol’s famous saying, meaning to imply: never has fame been so near, yet so far). The ghost of stardom haunts all of these forgotten tracks… This is particularly true in the case of Techno 90, Fred Rister’s first band. The DJ hailing from Northern France takes part in the short-lived though seminal Maxximum radio and mixes everywhere on both sides of the Belgian border, quickly becoming a local celebrity. At the turn of the century, he starts collaborating with David Guetta – another DJ, slightly better known than Rister and a rising star of the Parisian club scene. Together they eventually co-sign a few global hits: Love Is Gone, When Love Takes Over, I Gotta Feeling. This tale is the story of French variété’s unforeseen encounter with the avant-garde, of DJs who rose to the status of pop stars and others who descended deep into the rave party scene. It’s all of these oddities our compilation seeks to recount, like a wacky TV show featuring anonymous stars, forgotten ghosts of a decade bygone (Jacques Dutronc, Jean-Francois Maurice) or yet to come (David Guetta), inspired though unlucky blokes plus a girl band. And somewhere in the shambles, the tracklist of our compilation, the B-side of dance music’s official story – what could have been France’s alternative hit machine.

This release comes on 180g vinyl. Comes with A3 poster of cover art. Alex new album ‘Simulations’ sees this artist in his most versatile synth pop game, ever. He really knows how to pick features with these beautiful, provocative, and sensual sounding female vocalists, mixed with his signature driving dark electronic sound, he succeeds yet again. This time with rapid-fire synths and dance beats that worm their way into your brain and get stuck there.

Shiny cover with goffering, printed insert. Cola Boyy gets members of Mgmt, The Avalanches, Chairlift’s Patrick Wimberly, AIR's Nicolas Godin, Myd, Infinite Bisous, and John Carroll Kirby on debut album. There’s liberation on the dance floor in the songs of Matthew Urango – glimpses of revolution that glimmer beneath the disco ball. “I want my music to bring people together,” says the Californian pop innovator, best known as Cola Boyy. “Because standing together is our best chance at fighting this shit show.” The shit show in question is a broken, brutal system the acclaimed multi-instrumentalist has witnessed up-close. Urango was born with spina bifida and scoliosis in Oxnard, California: a town in which almost 30,000 are estimated to live in poverty. Prosthetic Boombox, his eagerly awaited debut album, might at first glance seem a joyous confetti-burst of pop eclecticism, engineered to sound like “scanning between stations on a car radio, landing on all these different sounds and styles” as Urango puts it. Dig deeper, though, and you’ll discover a simmering sense of rebellion. “The working class are injured, struggling to pay rent and struggling to put food on the table,” he says. “I want to represent that.” Prosthetic Boombox achieves that goal in a thrilling flurry of inventive indie, funk and soul: take Urango’s car radio analogy, place it in a time-travelling Delorean with Prince in the passenger seat, and you’re half-way there.

Sameheads & Mutant Radio are going a teenie weenie bit further and unifying their ongoing collab in plastic. The kind you play, not the stuff you throw away. Released in Spring, at a party we’re throwing together in Tbilisi, this little beaut is a double sided 7”. The Mutantheads split 7” features some solid sound rep from both projects…. For Sameheads, Andrea & Alexander release their first material together, acting as a kind of trailer to an upcoming album released later this year on R-i-o. The track “Olias” finally gets its press after once being performed live at the fabled Sameheads festival “City of a Thousand Suns”… those were the days eh….. On the Mutant Radio side, fresh talent Tina delivers her debut release, and for that matter, the first ever track Mutant have put onto a piece of vinyl….. The track “Vacation” is the squelchy black sheep counter balance to the silky synth vibe of the other side. Just how they like it. The release will be up for pre-order from next week, and the digital stuff too…. Just the 300 copies available…… So,,, fix up look sharp……

Four tracks from '20 Years Of Phonica' on limited 12" vinyl!

At the forefront of jungle’s new wave, Tim Reaper joins forces with Comfort Zone on the drum & bass anthem ‘Subterranean’. One of the heaviest sonic technicians around, Reaper and his collaborator Comfort Zone offer up a quality tune, based around a familiar vocal sample.

Toby Tobias has been a long-time friend of the store, collaborating with the Phonica crew on one of their monthly DJ nights for almost a decade. A prolific produce under many pseudonyms, including Alphonse, and on the Rekids, Klasse Wrecks and Emotional Rescue labels, Toby’s ‘On My Mind’ contribution is a complex house-not-house, bassline-heavy wriggly groover that becomes more compelling at every listen.

NTS Radio presenter and Eglo artist Shy One has been attracting attention with an original sound that is a mixture of live percussion, and funk mixed with UK bass. Here, ’Uncle G’ offers exactly that, combining broken beat, heavy bass and jazz sensibilities for a breezy, refreshing offering.

Finally, our own Kieran Jandu rounds out the 12" with his ‘From My Soul’, a hypnotic house anthem.

Freestyle Records drop another UK boogie 12" rarity from Eddie Capone's Treatment, this time the previously white label-only "Only You Know What I Like" from 1985. Limited to 300 copies worldwide.
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A mainstay of the UK's reggae, soul, funk & rock circuits since the early 1970s, Eddie Capone has played with a diverse and revered collection of acts; Chairmen of the Board, The Foundations, Black Velvet, The Elgins, Arthur Brown's Kingdom Come, Arthur Lee's Love, Billy Preston and Edwin Starr to name but a few. Eddie was also part of short-lived group Casablanca, with David Costa & Barry Clarke of early 70's folk-rockers Trees, signed to Elton John's Rocket Record Company.
Eddie founded the Treatment band in the early 1980s bringing in a revolving cast of singers and players, and created the Treatment Records imprint out of his own Black Rock studio in South East London in 1982. Releasing a string of singles - with efforts from Eddie Capone's Treatment, a side-project with singer Beryl Marsden as Salt & Pepper, and a single from Norwegian group Wave - Treatment Records then followed this up in 1985 with the 12" release of "I Won't Give You Up" with Diane Jones brought in on vocal duties. This received solid support amongst DJs and radio at the time, and was quickly followed with this solid slice of white label-only UK boogie-funk that has since become a favoured deep cut on the selectors circuit.
Treatment Records continued through the 1980s through to early 1990s releasing Eddie's music, both as a solo artist and as part of collaborative side-projects, and Eddie has continued to write, perform and produce music from his home studio right through to the present day. As a committed community figure & activist in South East London, Eddie has since 2014 re-started Treatment Records under the name of 3G Treatment - bringing together three generations of people from the local area to ensure young artists & musicians have access to the expertise and experience of their elders for support and encourage successful careers in the industry.

Frontmaschine is a french band created by Hérve and Louis. The alchemy of a father/son duo who experience with the ambiance, the sounds and the samples. Front 242 and D.A.F are their main influences. The music offered fluctuates from indus to old school, and from German to English vocals. Dark sounds (sounds of the 80s), rhythmed by rustic sequences, electronic drum sounds and samples such as machines, radio communication or metals. Frontmaschine “Wrong Fate” Ltd. Edition 12″ EP comes presented in a One-off truly limited edition of 200 copies lacquered pressed on 180 gr. high quality solid RED vinyl. All tracks have been specially remastered for Long CUT vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Elektro-Punk von Jan Müller (Tocotronic, Dirts Dishes), Rasmus Engler (Herrenmagazin, Dirty Dishes, u.a.), Thies Mynther (Stella, Superpunk), Julia Wilton (Pop Tarts) u.a.

Welcome to Carsharing Tapes. Welcome to the future.

With "diurnal Tides: First Wave" we're proud to present not only the first release of our new imprint for classic electronic music mixtape culture but also the first ever official gathering of two long standing figures which both have been relentlessly and continuously contributing to the German underground scene for more than two decades now.

And these two are: baze.djunkiii and THE D3vi7.

baze.djunkiii, Hamburg-born and based, officially entered the electronic music scene as a DJ back in 1997 from an angle of being an enthusiastic raver, launched his very own label Intrauterin Recordings in 1999 and - apart from becoming an 24/7 networker, knowledge hub, music blogger etc. - evolved into one of the most versatile underground DJs and purveyor of original DJ culture around whose journey on the decks has taken him all over Germany as well as to Greece and the United States and to countless hours of air time on a plethora of underground radio stations as well.

THE D3vi7, on the other hand, remains an elusive figure. Deeply rooted in electronic music production and the hell'ish jungle of circuit board wiring as well as DAW madness THE D3vi7 is a moniker created by one of the most active, yet probably most underrated figures on the release circuit, a nom de guerre which serves the sole purpose of being able to operate anonymously without any confirmation bias being attached to other musical guises which might, or might have not, been used previously and in earlier stages of a long lasting involvement in music. And btw - this is the first time ever THE D3vi7 agreed to provide an official DJ mix for a mixtape release.

With baze.djunkiii's mix opening the roughly hour long journey of "diurnal Tides: First Wave" on the A-side we're getting a prime example of what original DJ culture is all about as he's taking us on a fascinating journey from deepest underground Electro to screaming, spiralling Acid madness and beyond, digging up most underground vinyl cuts and making proper use of his extensive collection of rare 7" releases - a format that has been criminally overlooked by many DJs but provides a treasure trove of goodness as this mix easily proves.

Turning the tape THE D3vi7 does what THE D3vi7 does best on the flip: Being a force. A dark one. Forging a pounding, most relentless stream of hammering Techno tunes to take out unsuspecting punters on heaving dancefloors one by one THE D3vi7 provides a high octane selection of peak time excess that either thrills or kills - an ode to the power of raw and unpolished Techno madness in its purest form. A power that cannot be contested. Ever.

Hailing from downtown Los Angeles, Nuklear Prophet, aka Erik Villalpando, is heavily influenced by West Coast Hip Hop and Electro. Winning multiple DJ awards, including 3x World Records DJ Competition under his DJ Dope-E alias, Villalpando cites his inspiration as coming from some of the most influential Los Angeles DJs of his childhood, including Tony G, DJ Joe Cooley, Julio G, and DJ Aladdin.
With releases on Urban Connections, Abseits Recordings, Diffuse Reality and Bass Agenda Recordings as Nuklear Prophet, the LA-based DJ/producer readies his full-length album 'Prophecies 11:21' for Utrecht-based U-Trax. Formed of an eclectic and energetic collection of gems mined from his overwhelming archive, the album takes in genres such as Electro, Hip Hop, Footwork, Juke, and beyond. Leading the release is the 808 luminary Egyptian Lover's remix of 'L.A. Rockz', featured on the recently released 'L.A. Rockz' EP, kicking off the LP with his trademark 808-infused sound. A nod to Detroit-flavoured Electro is presented via the dark and brooding tracks 'Nuklear Prophet' and 'Compton', with the lighter atmospherics of the genre covered on 'Solar Winds'. The pounding electro killer '808 Plague' sounds like it came straight from the sewers of The Hague. 'Everlastin' Bass', 'Back Up Off My Tip', and 'The Train Ride To Coconino' offer Footwork inspired bangers, with the latter previously featured on the Legowelt curated U-Trax compilation 'U R Here!' earlier this year. Moving across a spectrum of tempos, styles, and moods across the album, exemplified on the sluggish trip-hop of 'The Mars Goblin', Nuklear Prophet expertly touches on a range of bass-driven genres, displaying his widespread influences and knack for hard-hitting production throughout.

Punk Dancehall fusion. A Collision between African Headcharge and Crass. Born from the ashes of an early 1980’s Northampton based anarcho collective of musicians & artists – with a shared love of reggae and a punk neo industrial ethos – came Reducer – We had to do things with an edge – to cut through the shit – that post punk new wave safe pop with a renewed knife of Joy & Righteous Anger – love & hate – life & death – banged out in a massive industrial reggae punk soundscape – our gigs were audio visual shock & awe – total commitment to the moment and the creativity – video projection,, incence & pyrotechnics, covering the venue walls with backdrops – it was a fully immersive experience. We never sought music business recognition- we weren’t in the music business! We were in the experience business! We recorded about 30 odd tracks in all, in order to try & catch the passion, energy & raw power of when we played live, the tracks were recorded over a period of 7 years. Each one unique, unrehearsed, spontaneous & improvised – one take, one mix onto cassette and a vershun if wanted & were done – capturing the raw passion & life energy that was pouring through us. About 5 years ago years we decided to set up a website & release what felt at that point may have been our 1st, last & only chance to get something on vinyl, & set up a website in order to tell the remarkable story of what happened in that little town in the Midlands 40 years ago and after we decided to digitize our archive of recordings and put them on the site and other platforms just as a “We were here & We did this” statement of public record – incredibly a Reducer Renaissance was born – the website mushroomed & we got US Radio airplay, we suddenly sold out our 1st vinyl release – Product & 35 years on a new audience got to hear & see what the myths & legends are about and they want more so, here it is, 5 tracks 5 videos. 35 Years old – Sounds like it was Recorded Yesterday. Think you’ve heard everything? You haven’t heard Reducer.

Get ready to groove to the beats of The Void Project latest release. Lukey, A.G, Kompo and Soyuz take control of the spaceship.

Korean artist and musician Jin Won Lee (이진원), otherwise known as Gazaebal, began his career in New York. Working as a sound engineer, alongside such illustrious artists as the Wu-Tang Clan and Janet Jackson, led him to develop a keen ear for dexterous audio design, melodic flair and catchy rhythm. But his true interest lay in uncovering the unique textures and synthetic qualities of electronic music. From the late 1990s to the early 2000s, Gazaebal focused on developing himself as a producer, synergising a uniquely potent take on club music, releasing three albums and appearing on numerous collaborations.

An established figure in the realm of contemporary art, Jin Won Lee is well-known for his hybrid, highly technological practice. In 2008, together with Jang Jaeho, he formed The Tacit Group, a collective for computer-coded art. Presenting works that manipulate audio and visuals in real-time through programming, the group has performed at the Fams Choice selection, Lincoln Center in New York, at the Seoul branch of the Museum of Contemporary Art and the Sejong Center for the Performing Arts, among many others. As a solo practitioner, he initiated in 2023, a project that examines sound as abstracted vibration. brings together Jin Won Lee’s decades long investigations into sonic experimentation and the physicality of noise.

Outside the avant-garde, Gazaebal has enjoyed mainstream success, collaborating with Big Hit Productions founder and BTS songwriter Mr. "Hitman" Bang on remixes and arrangements for K-pop albums. They also formed the two-man group Banana Girl, with Gazaebal focusing on composition while Bang handled vocals, achieving a big hit with their 2000s track ‘Butt.’

Another crucial figure in Gazaebal’s life is his wife Nine who operates as his agent and business partner. Initially released in 1999 on Nine’s independent imprint dmstrax, the titular track ‘Talk’ first appeared on techno@kr, a compilation CD of Korean electronica. Together, they co-founded G Records, which was partly absorbed into Bighit Entertainment in 2005. Appearing as the inaugural record on Bighit, the original version of 'And So On' – featuring Bang’s vocal production – was not available for re-release due to licensing difficulties. But thankfully the multitrack was well preserved. Utilising these components, Nawon Ha (aka Korean-but-Amsterdam-based artist Naone) re-imagines the song for Betonska Records.

A combination of un- and self-released material, Talk is an album that firmly belongs to the millennium while sounding utterly outside of space and time. A cosmic trance trip that draws on rock’s steely drive, wiggy acid basslines and warbling dub, the record is presented as a mix-friendly mini-album, with the 6 tracks ideally tailored to DJ-level quality and loudness. As much suited to the psychedelic rave scene of yesteryear as they are to present-day dancefloors, Gazaebal’s productions are defined by his idiosyncrasies. Melding the sheen of tight production and pop sensibilities with a flagrant DIY spirit, his music assuages the high-commercialism of the 2000s, resulting in a style that’s as definitely punchy as it is precise

ontains remixes by BXP, Big Hands, Elena Colombi and Front du Cadaux.

Unveiling the upcoming release – a captivating remix of La Serpiente's "You Are Dreaming!” Immerse yourself in the sonic journey as BXP delivers a psychedelic rework with its unique loop and arrangement style. Front de Cadeaux explores downtempo techno, Big Hands introduces trippy polyrhythms, Elena Colombi contributes an energetic uptempo track, and (exclusively for digital download) enjoy a 15-minute mind-blowing remix by Wang Inc. Together, these remixers redefine musical boundaries, promising a dynamic and eclectic experience. Get ready for a transcendent odyssey through diverse sounds and styles. This record has been realized with the contribution of the Bologna Unesco City of Music and Comune di Bologna.

Artist Bio:

Marco Segato is a sonic explorer, producer and live performer currently based in Amsterdam, Netherlands. He's the co-founder of Rete Neurale Milano E.S.T. - an event born in the infamous Milanese multi-cultural space Macao - and curator of the mix series Empty Signal Transmission. He was a Red Bull Music Academy alumnus in 2016 Montréal (Canada) and graduated in Audio Production at SAE Institute Milan in 2017. During the last few years, Marco released his music under three different monikers: La Serpiente, MS, and Narvalos (a duo project with Alessio Costantino aka Askmeaboutdogs). Across these projects, his sound maintains a sense of mysticism brewing with eerie tension, influenced and incorporating sounds of broken beats, post-industrial experimentations, and ritualistic elements to conjure psychic immersion. He produces and performs live sets with analog and digital hardware, with a sonic outcome that always saturates the mind with extra-musical ideas. Marco has released on labels such as Brokntoys, Xcpt Music, Random Numbers, Sons of Traders, Communion Records, Dionysian Mysteries, Vastechoses, etc... as well as on many solidarity compilations like Перамен! A Compilation for Belarus, Despertar: Chile, Sonic Resistance. A Compilation For Rojava. Recently, he has started a journey of sharing his extensive music selection with his monthly residency “Searching for the Sublime” at Tbilisi’s Mutant Radio.

The 11th release on Blkmarket Music comes from JLM Werx with 4 hard hitting electro-bass tracks.

The Russian born producer JLM Werx (aka Kiril Junolainen) is based between Turku (Finland) and St. Petersburg (Russia) and is a man of many production aliases. He is the founder of four record labels Datarocket, Lasergum, Dvatri and Intraflex.

JLM Werx makes his label debut with his ‘Heartbeatz’ EP.

His 4 track EP features tracks [a1] Heartbeat MC, [a2] Telephone, [b1] Total Zero, and [b2] Just a Mirage.

Prepare to get taken into outer orbit and into another galaxy.

We are excited to welcome JLM Werx to the Blkmarket Music family.

Robert Rental is an artist as influential as he is overlooked. An anchor of the early British DIY and post-punk scene, his name is most frequently uttered alongside illustrious collaborators such as Thomas Leer and Daniel Miller. Dark Entries and Optimo ally to illuminate some of Rental’s early solo works with an expanded reissue of his debut 7” "Paralysis/A.C.C." Both labels have previously excavated Rental’s catalog; we reissued the collaborative LP with Glenn Wallis in 2017, and Optimo released a collection of demos in 2018. The double A-side "Paralysis /A.C.C." 7” was self-released on Regular Records in 1978, around the same time as Leer’s "Private Plane/Internationa"l 7”. The record is a perfect document of the DIY ethos. It was recorded with the assistance of Leer in the council flat that Robert lived in, using an assortment of budget electronics: a Roland drum machine, a Stylophone, an Electroharmonix DrQ, and a Teac A3440 4-track recorder. The record’s sleeves were surreptitiously photocopied after hours at the offices of Virgin Records by Robert's partner Hilary Farrow, and the labels were hand-stamped The initial print run was a scant 650 copies. With its prominent notes of Krautrock, prog, dub, and ambient, "Paralysis/A.C.C." points to a then-emergent musical form. “Paralysis” makes its four and a half minute runtime feel like an eon, an endless morass of processed vocals and mournful melodies underpinned by the static whirrings of synthesizers. “A.C.C.” is an angular pop song that is at once both fractured and droning, like a skipping record that sounds incrementally more warped with each iteration. The original 7” material is joined here by three previously unreleased tracks. Instrumentals “G.B.D.” and “Ugly Talk” evidence Rental’s outre-prog and melodic electronic sides, respectively. Sitting between the instrumentals is “Untitled,” a sparse gem that layers Rental’s gently processed vox with guitar and drum machine, beautiful in its simplicity. The Paralysis EP has been remastered for vinyl by George Horn at Fantasy studios. The record comes in a sleeve with the original xeroxed 7” artwork. Also included is a four page booklet with lyrics, photos, and archival press material.

We are proud to present the first ever vinyl release of “No Message” by Art P, a still lesser known and lost masterpiece from the P.A.P. archives. Art P (initially Art Programming) was an electronic music duo consisting of Jens-Markus Wegener and Frank Grotelüschen. On “No Message”, originally released in 1985, we hear the band’s most profound work, a detailed and unique mixture in between of Electro and the synth-laden edge of New Wave.

The two artists from Bremen, the second largest city in Northern Germany after Hamburg, initially met in early 1982 due to a small add in a local newspaper when Grotelüschen was selling his Roland 101 synthesizer. Wegener became the new owner of the machine, the two kept in touch and soon became friends. When Grotelüschen was on holiday for a while he was nice enough to borrow his TR 808 drum machine as well as his Jupiter 4 synth to Wegener. During those six weeks he composed about 6 to 7 tunes that amazed his newly found partner, so that they decided to work together. Art Programming was born and from then on the two electronic music enthusiasts combined forces and released music on various projects. On their first album, the self titled “Art Programming” (1983), they worked with instruments like the Korg Mono/Poly which they mainly used for their bass sounds, a Roland Tb-303 as well as a Fricke sequencer. Later, newer synths like the Yamaha Dx-9 came into play.

We initially discovered Art P on the tape compilation “berlincassette 2-85” a couple of years ago. Their contribution, the title track from their second and last album “No Message”, blew us right away: punchy drum machines, heavy synths and cool female vocals delivering a serious, yet slightly ironic view on the meaninglessness in pop music having “no message”. A couple of months later, when we finally were lucky to get hold of an original full length tape (which is pretty hard to come by!), we couldn’t ask for more: powerful apocalyptic Synth Wave on “A Place To Fear”, thrilling vocoder Electro Funk on “Polaroid”, uptempo New Wave Synth Pop on “Sounds of the City”, dreamy and melodic Electro on “Without Jackets”, and other well produced tracks. It was an absolute necessity for us to get in touch with Art P and ask for permission to re-release their music on vinyl.

“No Message” was remastered from the absolute best original tape source and sounds incredibly well. The release is limited to 300 copies and will be pressed on blue vinyl. It contains an insert with lyrics and additional art. We think it is save to say, that this should not be missed!

The Hacker and Italo Moderni join forces with a masterful electro EP, guided by the French G.O.A.T. from Grenoble. Infused with techno vibes and featuring a remix by the renowned Terence Fixmer, this EP is a testament to the cutting-edge fusion of styles. Drawing inspiration from Liaisons Dangereuses, The Hacker weaves intricate basslines and rhythms, exemplified in the track ‘No Señor.’ ‘Me and My Sequencer Part 1 and Part 2’ unveils a clandestine narrative, a hidden tale shared only between The Hacker and his synthesizers—revealing the magical connection cultivated over the years.

Hot on the heels of their sophomore release with DJ Rocca, Cyphon Recordings welcome Tijuana’s Cyborg Nerve to the family for the third installment in their busy label schedule.

A new project helmed by the Cedillo brothers - also known for their work under the monikers Soul of Hex and Mano De Fuego - Cyborg Nerve’s sound tips the hat to the roots of Detroit electro and techno.

The Vicario Musique Recordings bosses have already made a mark under their Soul of Hex alias, pushing their cosmic, vibrant take on deep house. It’s caught the ear of labels and artists across the world; the likes of Delusions of Grandeur, Freerange Records and Quintessentials have shared their music and they’ve even earned the Larry Heard seal of approval, with the legendary Chicago producer stepping up to remix their 2014 track ‘Lip Reading’. As Mano De Fuego they’re also getting their music into the hands of pioneering figures in the American dance music scene - summer of this year saw them release a shamanistic debut via the inimitable Underground Resistance.

For their debut outing as Cyborg Nerve, the pair deliver four tracks of old school electro grooves. Title track ‘Cristalizacion’ kicks things off. A slice of intergalactic electro; celestial pads soar above warm bass and staccato drum rhythms. Their eponymous track follows and takes the energy levels up a notch: a warbling bass line drives the track forward, whirring and revving while crisp hats fizz overhead.

‘Tijuana 3000’ is another cut that's custom-made for the dance floor. As with the title track, the duo call to mind the interstellar jazz-tinged electronics of Detroit outfit Galaxy 2 Galaxy, as they pair cosmic twinkling melodies with a hypnotic acid line that takes centre stage. ‘Machine Effect’ brings the EP to a close. Like its name suggests the track is powered by a raw, machine funk groove and precise drum programming - no bells and whistles, just pure cosmic vibrations to move your body.

London-based musician Primrose creates spellbinding, colourful electronic music that blends bouncy club focused rhythms and the other-worldly soundscapes of dreampop, shoegaze, and film soundtracks, culminating into a fresh and distinctive sound that he affectionately refers to as ‘Blade Runner Techno’. As a DJ, Primrose is drawn to dramatic, emotional sounds and storming rhythmic transmissions from across the spectrum of electronic music and beyond, weaving between house, techno, 80s New Wave, post-punk & EBM. His debut EP ‘Set My Heart On Fire’, on his new label, Primrose County, is landing on 6th May, 2022, available digitally, for streaming, and on vinyl. The A1, ‘You, Me & Everything To Me’ is a cinematic beatless piece which kicks the record off on an emotional high, with a chirpy arp melody underpinned by brooding pads, growing into an overwhelming crescendo. The title track follows on the A2, combining soaring melodies, jumping broken drums, and a UK-leaning B-section in a melting pot of influences guaranteed to ignite the dancefloor, while still retaining a clear 80s synth-pop impact. On the flip, the record moves into deeper 4/4 territory with B1 ‘Foreverever’, centering around a rapid-fire arp line and jolty syncopated claps, anchored down by a propulsive kick and a warm sub. The emotive ‘This Is How It Ends’ closes the record, with its leaping melodies interwoven with a big, thick bass sound, accompanied by playful drums underpinning the otherwise bright and vivid soundscape. Primrose has a string of releases on established labels lined up in what will be a very busy 2022 for the newcomer, having received positive feedback from Avalon Emerson, Midland, and Nathan Micay to name a few, as well as receiving BBC Radio 1 support from Or:la and Saoirse.

Dennis Busch is an artist who is well-known to all Pin- gipung fans for his “James Din A4” contributions to our catalogue. This man of many faces has also developed a reputation as visual artist. Therefore he decides to present his music under the same name: Dennis Busch - which we think might be his real one. Dennis Busch has delivered an enormous output of odd, melodic techno tracks in the last decade – mostly on his own now unfortunately vanished “Esel” imprint (this means “donkey”). We have featured this sound in a dedicated compilation of his archive in 2008, called “Fistel Rose Power”. “Music for dance floors which haven't been invented yet”, someone wrote. Today he presents a fresh sound, each track bouncing and swaying in a different shade of good humor. We think it's his best album yet, in terms both of composi- tion and sound. Deep chords from Detroit meet skweee- ish melodies, a brassy bass says “wob”, and hip-hop hi-hats hold those guitars and vinyl samples to - gether. The entire album has been mixed down in real-time sessions on his MPC - this famous sampler is actually the only device with which Dennis Busch produces his tracks. Maybe it is the technological simplicity and his ease to ignore the temptations of endless digital sonic possibilities which shape the peculiar charms of this whole album. If deep-house were a discipline at the Paralympics, “New Yor” or “Happy Stranger” would defin- itely qualify. The title track “Total Youth” sounds like brewing the world's finest mocha coffee for Jan Jelinek (footnote: Jan Jelinek and Dennis Busch are musical mates, and Jan even considers to create a collage album from Dennis' sounds on his own “faitiche” label in the near future - what a good idea!). “Love Is Evol” is an old man crooning his wisdom quietly in our ears. The raise-your- fist-up-high-contest goes to the last track's cowbell, “Keiner Vice mehr”. The artwork has entirely been created by Dennis Busch. By the way, those who buy the LP get a colored inner sleeve with two more of his works. An online archive of Dennis Busch's visual works can be found here: www.dennisbusch.tumblr.com

As we continue the five part journey to say goodbye to the Telomere Plastic series we have Telomere 020.3 now available for preorder!
This five tracker VA, features producers, Hiroyuki Kato, Six Dreams, Ty Serna Sherman C & Konerytmi!

We begin off the record with ‘Black from Hiroyuki Kato. This long play is over 9 minutes and is a beautifully structured deep & house tune. Perfect for your summer day time sets!

Next on the A2 we have ‘Static Es’ by Six Dreams, This moody minimal breakbeat tune is filled with heavy bass & lush chords, the perfect track to slow things down for a few minutes during your sets!

On the B1 we have Ty Senrna who delivers a whacky groover! This acidic tech tune will work wonders and bring the spooky & trippy energy to the dance floor!

B2 is a tripped out phat acidic break beat tune from the mighty Sherman C. With some tripped out vocals & classic Sherman breaks & bass, this one will get the dance floor rockin’ full speed!

Lastly, we close out the release with a classic tune from Konerytmi. As expected we are gifted with his signature electro & bass beats!

Printed sleeve with 3mm spine UV Gloss finish, 140 G Black Vinyl. Deewee ‘s new releases now worked with Because Music. Formed in 2012, Asa Moto purvey non-standard body music from their Ghent outpost, Studio Martino. Closely affiliated with famed Soulwax imprint, Deewee, the Belgian duo’s recorded offerings carefully juxtapose expert synth-work with aesthetic imperfection. Charming melodies and throbbing rhythms come courtesy of archaic tone generators and acoustic instrumentation alike, landing Asa Moto in a zone of confident sonic idiosyncrasy. Their studio prowess has hardly gone unnoticed and during their breakout year of 2018, Resident Advisor, Redbull and the BBC were quick to take note of the group’s steady ascent. Via their ever-changing live performances, Asa Moto have become regular fixtures on the European touring circuit, touching down for club nights and festival appearances across the continent. As astute selectors, they operate a bi-monthly radio show in Brussels, digging into their sprawling collection, ranging from obscure jazz records to contemporary electronic cuts. Asa Moto have re-adapted their unmistakable strain of body music into a live show, which premiered on the Mainstage of the Lokerse Feesten 2019 and at the 40th anniversary of Ancienne Belgique in Brussels. In 2020, they co-produced and mixed the Turkish band, Altin Gün album ‘Yol’ marking the first time that the band has collaborated with outsiders.

It is on dark and sweaty dance floors that we get inspired, connect and leave our differences away to live in the present. With this compilation of music pressed in two parts and written by a set of artists from very diverse horizons, it is Polychrome’s perspective on the rave that we want to share. One where sound and light are the only points of reference, opening the space for liberating experiences.

The dance floor is also a space of self-reflection. The A-side is catered by two artists from one of our favorite collectives, De Lichting. With “A Reflection”, RDS opens up and shares a beautifully crafted house gem, providing for a soft and introspective yet groovy “eyes closed” dance. Nathan Kofi takes on the A2 with his unique deep house sound, layering sweet and cinematic synth sounds over an Afro-induced drum sequencing, creating a warm sonic envelope. On the B-side, James Free mixes acid synthesis, roaring bass line, and breaks to create a progressive and subtly melodic dance floor track, one that leaves you positively triggered. With the final track of the record, Rotterdam’s Mata Disk offers a glowing light over polyrhythms and very electronic noises, offering this body of work a deserved radiating curtain close.

We're thrilled to release two exciting electro tracks by Art P, as well as the classic minimal synthwave tune 'Der böse Osten' by related band project Die Synthetische Republik on this limited split 12".

The single kicks off with 'Genscher Pull and Push', an incredible and previously unreleased electro/wave/proto-techno tune from the P.A.P. archives, recorded in October 1982 with a political background. The song was only available on a demo cassette for a radio show and had been forgotten since then. Genscher was a long-time Federal Minister for Foreign Affairs and Vice Chancellor of Germany, who played a key role in a coalition change in September/October 1982, leading his party, the FDP, to leave the Helmut Schmidt cabinet with the SPD and continue with the opposition, the CDU/CSU. As a result, the German lyrics of the song shout 'bitte geh nach links / bitte geh nach rechts' ('please go to the left' - meaning the left-leaning SPD, and 'please go to the right' - meaning the right-leaning CDU), and so on.

Unfortunately, this track was never released, as the topic of the coalition change quickly became uninteresting and outdated. If it had been issued on vinyl in late 1982, it would probably be considered one of the first proto-techno tracks ever. With its driving and heavily-punching 808 rhythms, and the bending synth bass leads played on the Jupiter 4 synthesizer, it gives you a groove that owes as much to Kraftwerk's 'Computerwelt' album as it may rhythmically pre-date the sound of Detroit's Juan Atkins. The energetic German vocals are giving the track a unique Neue Deutsche Welle touch. They are heavily left/right panned to fit the political topic.

Next up on the Art P side is a remix of 'Polaroid', originally found on the No Message LP that we re-released last year. The track was recorded in 1985, and at that time, the duo of Frank Grotelüschen and Jens-Markus Wegener had become bored with the sound of the Roland 808 drum machine, so they made the track with a DrumTraks by Sequential Circuits. However, for this remix, DJ Scientist, the curator of this 12", wanted to recreate the typical electro-funk sound of the era and added 808 bass drums and claps. The track was also shortened to a more DJ-friendly arrangement. The result is a dancefloor delight for all lovers of classic electro and SVC-350 vocoder sounds!

Die Synthetische Republik was a project by Wegener of Art P and Olav Neander. The track 'Der böse Osten' can originally be found on the cassette album 'Faktor D', recorded in just two weeks on a Tascam Portastudio 245. The original recording sessions were pure fun but also rushed. Hence, none of the tracks was perfectly mixed. With digital technologies, we remastered 'Der böse Osten' to achieve the best possible result and are pleased to release this serious synth wave gem on a loud 12" for the first time as an exclusive extended mix.

The split 12" is released in a picture sleeve with a unique artwork on each side. It is limited to 500 copies.

A1 Carsten Meyer in the Plaid remix The Black Dog remix of Lalo Schifrin’s “Bullitt": That was the wishful thinking directed at Plaid and what comes from England without customs? A Groovy Shizzel ;) A2 quadratschulz in the Lowfish remix Everything from Suction / Canada is THE nerd shit! Richard D. James likes to borrow something analog from them, e.g. a Yamaha cs5, see Saw2 album cover. B1 Cosmic Cars in Thee Church Ov Acid House remix. Since the cosmic highway was tarred by 47in4 & Rvds, a freeway church had to be built. A mysteri-ous sect from Frankfurt took pity and acidjunglete the exit. B2 Rosaceae in the John T. Gast remix Visit Europe, this is possible there.

Total turns 21 this year, and Kompakt’s venerable compilation series couldn’t have asked for a more auspicious coming-of-age collection. If Total 20 was consolidation against the odds, the Kompakt crew producing for a dreamt-of dancefloor in an uncertain future, then Total 21 feels abuzz and alive with possibilities. Significantly, it’s the first Total in some time that’s streamlined down to a single disc; this makes Total 21 even punchier than usual, a joyous, reflective, and always thrilling 75-minute audio scan of the world according to Kompakt.

As with every instalment of Total, there’s a deft balancing here of Kompakt regulars and new blood. Of the latter, there’s a first appearance by Kollmorgen, remixed by Patrice Bäumel into an astral torch song; Amsterdam’s Nicky Elisabeth, offering up Roman FLÜGEL’s pulsating, arpeggiated remix of “Celeste”; and Captain Mustache swoops down into view, Play Paul in tow, with the dream-like electro lift-off that is “Everything”. Jonathan Kaspar also drops by with a new track, “Von Draussen”, a stealthy and lethal floor-hugger with prowling bass.

Elsewhere, there’s the lead track to Michael Mayer’s astonishing recent EP, “Brainwave Technology”, which not-so-gently spears the tech-futurist babble of AI, transhumanism and posthumanism, soundtracked by one of Mayer’s typically lush, glimmering soundscapes. John Tejada reaches back to the heyday of glitch and dub techno with the gorgeous “Spectral Progressions”, while the brothers Voigt & Voigt, on “Nicht Mein Job”, seem reinvigorated by the interwoven patterns and funky minimalism of the Profan days. Not to be outdone, Jürgen Paape kicks Total 21 with “La Guittara Romantica”, a chiming and lilting lullaby for woozy late-night reflection.

Throughout, it feels as though Kompakt are taking a moment to both breathe in the dust of the past and look forward to a bright future. Perhaps that’s why, on “Fasson”, Sascha Funke seems so confident, with pinprick melodies bouncing around a hall of audio mirrors, or why THE Bionaut returns with “Blue Sky Motor Lodge”, a song so moistly melancholy, so enduringly lovely, it’ll make you weep tears of joy. Robag Wruhme gets a little delirious on the ticking, twisting “No”, and then GUI Boratto mops everything up with the bubbling, bumping glam-stomp “Wake Up”.

That’s not all – spring for the digital and/or vinyl edition and you’ll get a new cut, “Happy”, from Michael Mayer, and Marc Romboy & C.A.R.’s “I Am A Dancer”. But however you choose to play it, now Total’s turned 21, it’s your duty to throw it the celebration to end all celebrations. Let the party begin, and don’t forget to bring a party favo

A download code is included. German DJ and producer Terrorrythmus returns with D3l3t3, a bass, gabber and hybrid rave inspired fire red five-tracker. It's time to get vacced and waxxed! Colored 140g vinyl comes in a printed sleeve with a download card and stickers.

Yonder Kids get a deserved spotlight 20 years after the journey suddenly stopped.
A musical legacy which could have been lost in the background noise of time is finally edited, mastered and cut into vinyl.

All proceeds go London based charity, Focus E15 which demands social housing, not social cleansing! It is the first vinyl release on Diet Clinic’s newly-formed sub label of Optimo Music marking International Women’s Day 2019 and featuring brand new tracks from artists C.A.R, Cucina Povera, Fantastic Twins, Human Jones, Maral, Marika Underspreche, Odete, Penelope Trappes, Slime, Sue Zuki and Zoe McPherson. Optimo Music is thrilled to present “Weaponise Your Sound”, which has been curated, conceived and designed by Kristina McCormick (Diet Clinic). Diet Clinic is an NTS radio show showcasing female DJs/artists.

DC Salas’s second EP indeed is a tale of beautiful feelings: After his last year’s debut EP on Live At Robert Johnson called The Complicated Art of Dreaming, this fresh four tracker is a proof to his creative continuity. A1 Did They Listen rhythmic structure banks on a pounding and effective combination of bassdrum, conga and cowbell, joined by a mildly distorted bass line figure, which embeds itself in a panoramic soundscape. A2 Beautiful Feelings introduces a remarkable striking sawtooth sequence, with repeated filtered and resonating variations, alternating throughout the track. On the flipside, B1 Within employs yet another bubbly bassline, keeping the soundscape wide-open to retain enough sonic space for that eerie, yet highly energetic Cosmic Disco touch. B2 Liquid Perception signature is a liquid acid bassline introduced in the second part of the track, perfectly befitting its track title. All tracks of this monolithic EP, thanks to its consistent approach to sound design, could easily be mixed subsequently with each others. DC Salas is thirtysomething year old Diego Cortez Salas, a skilled talent with peruvian origins hailing from Brussels. A regular DJ at C12 and Kiosk Radio both in Brussels, Diego also co-runs Biologic Records with his mate Abstraxion since 2014.

Marvellous showcase of new wave UK techno talent. This is what's really going on ... stacked CD!

"While playing Dear Ghod you will encounter themes of death, selfishness, erotic obsession, and predation. Your character may be injured, victimised, trapped, or killed. Your character will murder and victimise people of all sorts, possibly including children, animals, loved ones, marginalised people, or themselves. Characters might engage in self-harm or drug abuse. Illness, debilitation, and body horror may come into play. Your character may have their memories altered, they will certainly forget important things. Some of this will emerge from the prompts, some will emerge from the choices you make."https://objectstore.true.nl/rushhourrecords:files/styles/cover_large/storage-api-public/a4201530673_10.jpg?itok=D-TjV12g

ciccio bomba cannoniere (chunky monkey)
Is the sound weapon of the A-zienda rthz, illustrated by the render called M.E.R.I.C.O.O. (Erect, rechargeable intelligent machine with organic dog) This project of a definitive media A-ssailant presents all the necessary elements for the domination of social hierarchies:
trace of a human face for identification
a stalker server for omnipresence in digital field
a system of locomotion for moving in any field
a genetically modified dog for keeping counterfeiters away
comfy clothes and an M60 around the neck
The name derives from an A-ncestor rthz called Merico. Police officer who in the late 1800s left a tavern and rode on the back of his mule Cina with the objective of stopping a train so that he could light his cigar. And this happened. Merico was then tried and dishonourably discharged.
- rathauz, translated from Italian -
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"*warning In my research for this piece I downloaded an app I found buried in the press release, drove around an airfield as a wolfman with a rifle, then unlocked a wrestling concept album on Youtube by jumping towards the light, became a subscriber for 20 Euros a year to get access to exclusive content and almost bought 5 grams of dirt harvested from the area surrounding the Rathauz studio.*

ciccio bomba cannoniere is a gateway drug, a gateway into the cybernetic multimedia cvlt of Rathauz.
And while a physical release might run counter to the insanely futuristic drive of the Rathauz, it's probably the album of the year so buckle up.

For the uninitiated the A side might play out like merely the best goddam side of actually fun techno you've heard in 2020s. Rollicking acidic galompers. Tbh most techno can get in the bin these days but this swinging evil continuum championed by Acidic Male / Giant Swan / Missterspoon is more than right by us. Rathauz add internet dial up noises, reggaeton shuffle, distorted screams and frayed EBM arps into this heady heady mix, showing they're about twice as interesting as the top 10 techno on Bandcamp already. Seriously RA would be creaming themselves to hit the recommend button if they could grow a spine in the office between them.

But Then side B gets rolling with boom baps and distorted guitars in a kinda frat-trap circle pit. This is the sound online Rathauz disciples know and love; electro-punk-trap-pop twisted genius. Their scifi vision and demented humour reminds us most closely of our beloved Kinlaw & Franco Franco if Franco had spent more time living in Milanese squats. Policepunk=S.W.A.T. is classic anarcho scuzz hxc on speed and trap and.....maybe Show Me The Body albums and not enough sleep. Venetia-monitor rips off the riff to Smells Like Teen Spirit in glorious Midi chaos. TLC is the most fun you can have in 2 minutes.

After listening we have only one question: Where ARE THE Techno Punx Making Actual Fucking Punk EH? And why not do it on the same album?

Cos you are never gonna get to crowdsurf at Tresor, kid. The bouncers will make you disappear and you Will miss your flight back to Kansas.

God bless Drowned By Locals.
Vinyl with printed sleeve (with the best art you've probably ever seen)."

- Miles Opland, Rwdfwd -
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A-Biography (translated from Italian)
RAT is the surname Hauz is the survival place, we make house music in the municipality of the web like the pharmaceutical industry.

Rathauz is the A-zienda or company that produces perceptible frequencies from its works in reinforced concrete located in a farming plot forever ploughed and fertilised, the whole area surrounded by barbed wire. You can visit the works through A-ndroid A-pplication A-zugo ( play.google.com/store/apps/details?id=com.rthz.Azugo&gl=IT&fbclid=IwAR3VKIQzcLIoipGeeEBpGkE6vJg0NXC6MGe9_Ev6X5aRFi_W2gp8xN_n7iE ). Its workers have been embedded into the factory's walls and their names disappear absorbed in the structure. When they A-ppear they always wear their A-gro wear; wrestler shirts (emblems of expository hyperreality). In their productions they insert their singular individuality and relativistic abilities merging into a single quantum machine. They are the perfect emblem of the band: two brothers who share blood (a-), surname (Rat) and produce frequencies made at home (house music) but are almost always in conflict. Often during the A-ssembling of the frequencies they A-ttack each other as was reconstructed in WRESTLA-live, each product is then a derivation of a complex human skimming. Rathauz is focused A-utonomously on the primary sector, secondary, tertiary everything in the quaternary. They sow, grow, distil, peddle and often are the first consumers of the complexity of the material, creating their own A-utarchic world. They compete with other international labels but while those are associations made of many identities with different styles (the many Artists), Rathauz is the assembly of any frequential style recast by a single unique A-rtistic individualism, which has to overcome such role becoming the inhumane machine that produces and exports. The A-zienda only exists in relation to the A-utoproduction of the media, everything is developed only by the two laboratories. Both have productive activities in full with their identifiable subjective relativisms and these are not secondary but coexistent with the A-zienda A-ctivity. While the single A-'s (both laboratories with their own identities) work in a global context, Rathauz is simultaneously and exclusively dedicated to the cultural, media and technological development of the Italian state. This doesn't mean productions are inferior or superior but of a certain quality that differs from the products of individuals. The themes of both representatives in their individualistic projects are the visions of two Europeans squashed by imported capitalism and globalisation while Rathauz gathers the traditions and cultural movements of a particular region of Italy, Veneto, under the influence and the techniques of an imported capitalism and globalisation. Either when displaying their individual identities and when they act as the A-zienda, they confront a global context, but if they happen to emerge with their individualism of relative beings on the sea of international connection, the A-zienda is always the maker of a locally defined product, precise and calculated, which does not deny the inspiration but refines it to the limits of incomprehensible complexity. The A-zienda is a company that produces product (a metaphor for the identity of any artist under a label) but ultimately being the A-rtist as well, there are no thematic links or expressive limits, that is within the view of Italian cultural implantation in many demographic A-spects. The name Rathauz is the union of two concepts rat and hauz as A-forementioned, and yet the Anglosaxon A-nti-Italian sound that emerges recalls the great capitalist Corporations. Before launching the project Rathauz we had to clear the road as Rat-truppen. We fought club after club, we broke moulds with too-powerful basses, moshing where it was previously culturally inadmissible (only white shirts). With our dj-sets we imported the sound textures that later became the culture that "A-cquired value". Rathauz and many like it. As we moved from record to record many evenings a week we continued to produce a sound material yet to be emitted and which later contributed to lay the groundwork for the stable A-zienda. The first A-bsolute A-lbum we produced was in *2003 "Music Fear" (both laboratories had 8 and 12 years respectively) and this was the real starting point seeped in electronic textures, house and Drum'nBass and you can hear a first example of modern Base Trap, where we created a rap beat with a horror sample and used a distorted kick.
P.S.:
Usually as in the case of track 3030 (which deserves pages of in-depth A-nalysis), the sound is not only the basis but it is linked to the themes of production and later happened to become a sound standard as in the case of hdma where the distorted bass we came up with was an emulation of the stereo system at maximum volume of A- friend's car.

Original text by rathauz:
ciccio bomba cannoniere
È l'arma sonora dell'A-zienda rthz, illustrata con il render di M.E.R.I.C.C.O. (Macchina, eretta, ricaricabile, intelligente con cane organico). Questo progetto di definitivo A-ssaltatore mediatico presenta tutti gli elementi necessari alla dominazione delle gerarchie sociali:

parvenza di viso umano per l'identificazione

Uno stalker server per l'onnipresenza su campo digitale

Un sitema di locomozione per muoversi su ogni campo

Un cane geneticamente modificato per non lasciare avvicinare alteratori

Abiti comodi e al collo un M60

Il nome deriva da un A-ntenato rthz chiamato Merico. Carabiniere che a fine '800 uscì dall'osteria e salì in groppa della sua cavalla Cina con l'obbiettivo di fermare un treno per farsi accendere un sigaro. E ciò avvenne. Merico fu poi processato e congedato con disonore.

A-biography
"Ing: RAT is the surname Hauz is the survival place, we make house music in the municipio della rete like the industrie farmaceutiche."
Rathauz è l'A-zienda che produce frequenze percepibili dal suo stabilimento in cemento armato situato in un campo agricolo perennemente arato e concimato, tutta l'area è circondata da filo
spinato. E' possibile visitare lo stabilimento tramite l'A-pplicazione per Android A-zugo (https://play.google.com/store/apps/details?id=com.rthz.Azugo&gl=IT&fbclid=IwAR3VKIQzcLIoipGeeEBpGkE6vJg0NXC6MGe9_Ev6X5aRFi_W2gp8xN_n7iE). I lavoratori sono stati inglobati
nelle pareti della fabbrica e i loro nomi singoli scompaiono assorbiti dalla struttura. QuandoA-ppaiono indossano sempre la loro divisaAziendale; maglie di wrestler (emblema dell'iperrealtà espositiva). Nelle produzioni inseriscono le loro singole individualità e le loro relativistiche abilità fondendosi in un unica macchina quantica. Sono l'emblema perfetto della band: due fratelli che condividono sangue (a-), cognome (Rat) e producono frequenze fatte in casa (house music) ma sono quasi sempre in contrasto. Spesso durante l'A-ssemblamento frequenziale fannoA-botte come è stato ricostruito in WRESTLA-live, ogni prodotto è quindi derivazione di una complessa scrematura umana. Rathauz si occupa in modoA-utonomo del settore primario, secondario, terziario tutto nel quaternario. Coltivano, lavorano, raffinano, smerciano e spesso ne sono i primi fruitori data la complessità del materiale, creando il loro mondoA-parte. Competono con le altre etichette internazionali ma mentre esse sono associazioni con all'interno più identità con diversi stili separati tra loro ( i vari Artisti), Rathauz è l'assemblamento di qualsiasi stile frequenziale rielaborato da un solo ed unico individualismoA-rtista, che deve superare tale ruolo diventando anche l'inumana macchina che produce ed esporta. L'A-zienda esiste solo in base all'A-utoproduzione dei media, tutto viene svolto solo dai due lavoratori. Essi hanno entrambi attività produttive in proprio con i i loro relativismi soggettivi identificabili e tali non sono secondarie ma coesistenti all'A-ttività A-ziendale. Mentre i singoliA-( i due lavoratori con le proprie identità) lavorano in contesto globale, rathauz è parallelamente e prettamente dedito allo sviluppo culturale, mediatico e tecnologico dello stato Italiano. Ciò non significa che le produzioni siano inferiori o superiori ma di un certo tipo di qualità che risulta differente dai prodotti dei singoli. Le tematiche dei due esponenti nei loro individualistici progetti sono la visione di due europei pressati da un capitalismo e un globalizzazione importata mentre Rathauz raccoglie le tradizioni i movimenti culturali di una determinata regione d'Italia, Veneto, sotto l'influsso e le tecniche di un capitalismo e una globalizzazione importata. Sia quando hanno le loro identità singole che quando sono l'A-zienda si confrontano con un contesto globale ma se in un caso emergono con il loro individualismo di essere relativo a galla nel mare della connessione internazionale, l'A-zienda è sempre fautrice di un prodotto localmente definito, preciso e calcolato che non nega l'ispirazione ma la raffina a limiti di incomprensibile complessità. L'Azienda è un'azienda che produce prodotti (metafora dell'identità di qualsiasi artista in una etichetta) ma essendo comunque direttamente anche l'A-rtista non vi sono vincoli di tematiche o limiti espressivi, sempre però nell'ottica dell'implentazione culturale italiana in variAspetti demografici. Il nome Rathauz é unione di due concetti rat e hauz come giàA-ffermato prima, tuttavia il suono AnglosassoneA-ntItaliano che emerge richiama le grandi Corporation capitalistiche. Prima di avviare il progetto Rathauz Abbiamo dovuto spianare la strada come Rattruppen. Abbiamo combattuto club per club, rotto impianti per via di bassi troppo potenti, pogato in luoghi dove prima era culturalmente inammissibile (solo camicie bianche). Con i nostri dj-set abbiamo importato le sonorità che poi sono divenute la cultura che ha potuto "Apprezzare" Rathauz e vari simili. Mentre ci muovevamo di disco in disco facendo varie serate ogni settimana continuavamo a produrre materiale sonoro tutt'ora non rilasciato che ha contribuito poi a fornire le fondamenta dallo stabileA-ziendale. Il primoA-lbum inA-ssoluto che abbiamo prodotto è stato nel *2003 "Music Fear" (i due lavoratori avevano rispettivamente 8 e 12 anni) ed è stato il primo vero punto di partenza in quanto in mezzo a sonorità elettroniche, house e Drum'nBass si può ascoltare un primo esempio di Base Trap moderna, dove abbiamo creato un beat rap con un campionamento horror e usato kick distorti.
P.S:
Spesso come nel caso della traccia 3030 (che meriterebbe pagine diApprofondimento), il suono non è solo base ma legato alle tematiche della produzione e poi casualmente diviene culturalmente uno standard sonoro come nel caso hdma dove il basso distorto che abbiamo ideato era un'emulazione delle stereo a volume estremo dell'auto di un nostroA-mico.

The indie dance and leftfield techno magicians Radial Gaze join the Urge To Dance family after remarkable releases for labels such as TAU, Feines Tier, Calypso and Eskimo. The Saint Petersburg-based project is accompanied by Thomass Jackson and Zombies in Miami on remix duties for the mesmerizingly exotic “In Each Other” EP. The leading track, In Each Other, is a multi-layered and infectiously danceable combination of addictive bassline, magical Cameroonian drums, Amazonian percussions and mystical marimbas creating a mysterious and exotic track. Psych Subsidy delivers dirty, energising and somehow hypnotic emotions. Entrancing sitars loops, long pitched synthesizer and a twisted old lullaby female vocal will get you on board for an amazing psych-trip. The B-side is where Thomass Jackson and Zombies in Miami deliver their wild and unorthodox remixes of In Each Other. The Thomas Jackson True Love Remix is emotional, hypnotising and yet so trippy, a true testament of Calypso Records Boss’ remixing skills. The second take of the leading track is by Zombies in Miami, a powerful and forward-looking track that blends the hypnotic percussions of the original with a rhythmic bassline and flawless simplicity of all elements used in this remix.

EYA Records gets off to a strong start of 2022 by inviting ‘The Nothing Special’ producer Oli Silva and Argentinian hardware maestro Manuk for their 16th release.

A1 ‘ Mirage man’ by Manuk is a wonderful, expressive techno and trance infused number, while A2 ‘Mutant Mindset’ by Oli Silva has a raw breakbeat impact with classy eerie chords, haunting vocals, and a killer bassline.

B1 is the result of the joint effort by the two producers, ‘Multiple Minglings’ is a very impactful psychedelic journey. The EP is completed by a ‘Freestyle’ remix of B1 by UK legendary producer Dave Campbell aka HI-Ryze.

Next up on Aris is a particularly special one - Ireland's first electronic music 12"- Carrier Frequency's Telecaster Man, a particularly Irish take on the acid house sounds of the late 80's, that still does the job 35 years later. "A nine minute tune with two chords, it's just f-ckin' madness mostly - distortion and drum machines." simply put by one of the artist himself, but it's much more really. The record originally released in 1989 was a collaborative effort featuring the talents of Mr. Spring, Leo O'Kelly of 70's folk heroes Tir Na nOg, and Trevor Knight of 80s synth pop band Auto Da Fe, Mr. Spring, a veteran of pirate radio since his early teens and the local go to studio guy for dreamers and the Depeche Mode and Talk Talk clones of the time, spearheaded the project. Drawing from his extensive experience and technical prowess, Spring had already established his own studio in 1987, equipped with state-of-the-art gear including an Atari sequencer and an Akai s900 sampler. Joining Spring in this creative endeavor were Leo O'Kelly and Trevor Knight, both esteemed musicians with diverse backgrounds. O'Kelly, known for his pioneering work with 70s folk outfit Tir Na nog, brought his unique blend of folk and electronic influences to the table and Knight, a seasoned performer with roots in jazz fusion and new wave. Spring had met them while Djing before one of their gigs and was immediately taken with Telecaster Man. They decided to work together on it as Spring says "We wanted to get a Cabaret Voltaire sound to it and have a bit of fun." Fueled by a shared passion for experimentation and sonic exploration and inspired by the dynamic energy of the club scene and the rapidly evolving sounds of electronic music, the late-night recording sessions in Spring's studio characterized by spontaneity and innovation. The result of their collaboration was "Telecaster Man," a nine-minute tour de force combining distorted guitars, hypnotic rhythms, and pulsating synthesizers. The 12 inch comes with the original and Sinewave mixes plus a new Mr. Spring remix from the original multi tracks rounding it out with the replication remix and a bonus acapella. Full colour sleeve and comes with extended liner notes.

Wheez-ie's uncompromising rave anthems get a wild ride of remixes from Tim Reaper, Vtss, DJ Stingray 313, Aura T-09 & Cardopusher

An of-the-moment remix EP full of bold, dark, and relentless warehouse thrillers. On January 14, L.A.-based producer Matt "Wheez-ie" Mauldin follows up October 2021's Horizons release on Evar Records with an of-the-moment remix EP that's cathartic, riveting, uncompromising and altogether powerful. Wheez-ie gathers together an all-star cast of dancefloor iconoclasts who reinterpret his singular '90s-referential rave visions to thrilling affect – this is all killer, no filler warehouse music for those who are brave enough to take the ride.

London's jungle modernist Tim Reaper reworks "Horizons" – a Summer of Love-ready breakbeat epic with cinematic, near gothic overtones – into an homage of sorts to early LTJ Bukem, cutting up Wheezie's melancholy synths into a twinkling fairyland that dances atop a weighty ton of chopped amens and classic jungle subs. Detroit icon DJ Stingray 313 trades in the punishing techno vibes of the original "Anon" for something equally fierce – a versatile 139 bpm slab of expertly-machined industrial electro that pairs perfectly with the sample "You think you know me, you don't," which could well be a rallying cry for Wheez-ie's unexpected musical stylings.

The surprises continue on the remix of "Pressure," tackled by Evar Records label head Aura T-09 with the wildly eclectic Barcelona-based Cardopusher. The duo transform Wheez-ie's aggressive free-festival hard trance into a cheeky and modern riff on early Paul Van Dyk/Tiësto/Love Parade anthems. Gossamer layers of Aura T-09's angelic vocals and tunneling Acperience arpeggios are offset by a wildfire of hacked breakbeats and Dominator synth stabs, revealing Cardopusher's rich breakcore past. Rounding out this fully mental and totally unexpected remix pack is a nasty, naughty fingerblast from the Berghain dark room via Polish-born, Berlin-based Vtss. Where other remixes add the breaks, the fast-techno goddess strips back the early '90s breakbeat hardcore onslaught of the original and replaces it with an equally relentless industrial 4/4 beat – the entire tune is a masterclass in the intensity for which she's known. Uncompromising and utterly of-the-moment, the Horizons Remix EP explores new shades of the themes that infuse Wheez-ie's original: dystopian futurism, uncertainty, dark beauty and rave catharsis. Don't sleep!

DJ Godfather with the bizness once again! Offering up a point and place where the tempos of house, techno and electro can be bridged in a single mix with the BPMs of footwork, juke and jungle. Get your more tongue in cheek, Dirty Bird-like club numbers from "Up All Night (feat Christina Chriss)" next to the straight up, frenetic, and deep Detroit styled clap-track "d3t-313".

Los Angeles native Sha Sha Kimbo undeniably lives for the rave. As exemplified through her every intentional move as a producer, DJ, promoter, radio host and label owner, Sha Sha radiates an unwavering love for amplifying, nurturing and supporting the culture of underground electronic music and the community that surrounds it, with her forthcoming release absolutely no exception to this.

Set for release as a digital download and limited edition cassette tape on August 13, the LA rave staple is happy to announce her debut EP on Evar Records, Total Chaos. A brilliant testament to the cathartic importance of staying up late and getting lost in a buzzing crowd of kindred spirits, Total Chaos harnesses the universal experience of having pent-up energy into massive, angst-ridden breakbeat anthems. Over six tracks, Sha Sha channels the hair-raising spirit of '90s rave along with her formative experiences with DMZ-via-Low End Theory dubstep and punk rock. Finding her place within LA's bass music, house, techno and rave scenes while defying easy categorization, Sha Sha personifies the no-rules electronic music ethos behind John Frusciante and Aura T-09's Evar Records. To supplement Total Chaos' three originals, Lyzza, Machine Girl and LCY provide three raw remixes highlighting various aspects of Sha Sha Kimbo's renegade rave spirit.

Drawing from the Los Angeles punk rock and '90s rave music that soundtracked her youth, Total Chaos personifies how she grew up on the dance floor, showcasing Sha Sha's tried and true ability to express rich, nuanced emotions through tracks that, first and foremost, can level a warehouse party. Kicking off the vibe on July 30, the EP's lead single "Save The World" is a perfect representation of this, with the jump-up rave cut employing a megaton breakbeat and sickly-sweet vocal samples over simmering base of dark, UK-influenced atmospherics. From the late night energy of the title track to the euphoric, dawn-breaking feel of "Limited Perfect," Total Chaos offers the refuge of a robust dance floor with the warm reassurance to be one with the universe.

Rounding out Total Chaos EP are three remixes that amicably and serendipitously support Sha Sha Kimbo's visionary aim to both explore the unknown and bring people together along the way. Brazilian-born, Amsterdam-based powerhouse Lyzza adds a full verse and a nest of serrated rhythms to her version of "Total Chaos," while New York's Machine Girl applies their trademark punk electronics approach to "Save The World." Meanwhile, Bristol's own LCY hollows out "Limited Perfect" into a haunting amalgam of post-punk minimalism and low-frequency pressure. A study of the opposing light and dark energies of underground dance music, Total Chaos presents a breakbeat-heavy vortex, sure to awaken everyone's inner raver.

140g black vinyl housed in a matte 3mm cardboard sleeve Mirror Glaze Lavish” is Marc’s latest effort in trying to depict his cynical and disillusioned view of the present-day music scene, seen through a sonic magnifier that emphasizes its greatest controversies, by juxtaposing different electronic languages as a challenge to the current levelling artistic trends. The artist personality is nullified, standardized to a state of placid non-critical thinking. Everyday’s emptiness emerges as the structure of reality and only the cracks in it still lead to life. “Great souls suffer in silence”, once said Friedrich Schiller, but what if silence becomes an audible, danceable image? As if all these electro cuts, differently permeated with a balanced mix of playful darkness, were populated by eerie animals that cannot find peace with their habitat and keep dancing relentlessly until the very end of their miserable existence. Seen in this context, each of Marc’s tracks must be interpreted as an irreverent and poignant act of self-assertion vis-à-vis his contemporaries. Morah’s reinterpretation of “Celexxa” adds value to the original track, taking us for a dirty ride on a psycho-electro-charged rollercoaster.

“Whether it is traditional or contemporary, we need to be authentic,” says Gözen Atila who performs as Anadol. “I don't claim that I am authentic, but this is what I want to achieve.”

A sense of authentic exploration, introspection and celebration coats every inch of Anadol’s latest album. After 2019’s Uzun Havalar, the Turkish artist returns with an album that continues to explore a variety of deeply embedded musical traditions while also hurtling into new terrain.

The music and influences - as well as the history, culture and geography behind them - that make up Atila as an artist all coalesce to create something entirely new. The result is something that is simultaneously exploring history and tradition, while harnessing innovative modern sounds and techniques. “If there is any tradition I am somehow connected to, or influenced by, then it’s multi- genres,” she says. “Such as Turkish Pop and Arabesk music from this country where I grew up. There is a connection to Folk and also French pop or Flamenco, Middle Eastern melodies and orchestration, Greek adaptations, Kenny G. solos, American guitars.”

This can be heard on Felicita, not in as much as you can link up the influences directly but in the way it glides across genres, eschewing convention and predictability along the way, to result in a kaleidoscopic experience. For the album, Atila found a talented roster of Jazz musicians in Istanbul who she recorded on top of her synth productions and field recordings. Soon enough saxophone, drums and strings began to stack up against preset drum loops from vintage organs. It’s a record where woozy psychedelic excursions bleed into dreamy synth lines, immersive ambience and the occasionally disconcerting yet incredibly tactile use of field recordings.

If it’s an album that feels like it travels through a variety of feelings, then it’s because the concept is loosely rooted in such a journey. Felicita translates as “happiness” and this album is something that explores the complexities of such an emotion. “I did not name the album like this because I just wanted to call it happiness,” Atila says. “A song like ‘Felicita Lale’ is a sad and confused song about a female character who can't get out of bed. It’s a funny rumination, in her thoughts, saying to get up and lie down repeatedly. At some point the lyrics say: "hep agla, felicita", meaning: "Cry all the time, Felicita". Like she is talking to happiness itself and telling it to cry. So it is not about happiness, it is more about the concept of happiness which can be very sad.”

Annie Hall returns to Sheffield's Central Processing Unit label with an EP entitledMemories That Never Happened. This record represents the producer's third time on CPU after 2016'sTenured Positionsand 2020'sFum, and it is also the latest release in a busy couple of years for Annie Hall which have also seen her drop EPs on 20:20 Vision, Orson Records and Random Island. The momentum Annie Hall has built up in recent times carries through to a dynamic collection of productions which bring enough heft in the beats to keep the dancefloor happy while also including all manner of details in the production.
Memories That Never Happenedbegins with the title-track, a twitchy yet wistful cut which perfectly matches its name. There's bite to the broken-beat electro pulse, growling bass and robotic declamations of "it's Annie", but the makeup of the track is simultaneously rather rose-tinted, particularly when some chemtrails of a synth lead enter later on. The overall effect is as thoughtful as it is stimulating, akin to the halcyon productions of Daniel Avery.
If 'Memories That Never Happened' is somewhat plaintive, following jam 'Problematic Tape Recorder' has the bit between its teeth from the get-go. The beat crashes and snaps, and when played off shimmering stabs of synth it all adds up to aWip3outrush that nods to both the old Rephlex Records sound as well as contemporary practitioners like Nightwave. Once again the synth lead is used lightly here, more an augmentation to the beat than the centrepiece - another demonstration of Annie Hall's ability to write with focus even when the overall intent is to move bodies in the club.
The energy of 'Problematic Tape Recorder' is spun in an unusual direction on 'Subsequent Experiments', the first track ofMemories That Never Happened's B-side. This cut may be the quickest on the record, but this does not mean it shouts the loudest. Indeed, 'Subsequent Experiments' may be the most ornate production here, full of shadowy sonics and a deconstructed beat running at D&B speed. A kind of shadowrealm version of Planet Mu's early drill & bass explorations crossed with UVB-76's darkside post-Metalheadz excursions, this one is an eerie thrill.
After the busy 'Subsequent Experiments', Annie Hall slows down to take the EP's home straight at mid-tempo. On 'Unparalleled Comfort', keyboard stabs slide over a rhythm that's at once driving enough for the dancefloor and nuanced enough to allow little half-melodies of synth to flit around above. It's a fitting closer for this EP, almost playing like an amalgamation of the elements which made the rest ofMemories That Never Happenedso appealing.
Annie Hall returns to Central Processing Unit withMemories That Never Happened, an EP of masterful productions which will delight both clubbers and home-listeners.
RIYL:µ-Ziq, Pessimist, Nightwave, Mark, Drexciya

Lunatika, The Hague's latest 'trap' or 'drill' rap sensation, for all heavy 'banteng' soldier man-boys' (and, sure, all the lady-boys too!) man drill and bass, whipping and kicking and booming, 'all dem a' Holland's 'Dirty Mud West Coast Sound' incl. quite some reggae dub and N.O.L.A. bass influences, I dare say, 'respect due to all'... Part 1/2. Mastered by Guy Tavares.

Analha was one of the first approaches I had with the design of analog basses and drums, to understand the way in which we can involve so many sounds and transform them to our own liking, to give it its own narrative, a sense, an identity in which it can be navigated about different styles without problem.

They are two pieces that make up totally different break paths where "Mi ama Dic K no" [a1] is my own exploration and vision of the break beat, three melodies written in F # that count the subtlety, while the bass contrasts in an aggressive idea to the beat of many changing rhythms in the drums, which sorfs between a Mpc, 808, Dsm & V Modular ; Classic trip hop voices samples that guide the way this own idea progresses on the breaks and pads that generate a more complete environment with a very energetic atmosphere that is constantly on the rise in the active and natural development of the track.

Towards the B side "Run mami run" [b1] is composed by a classic intro of acid cut while some seconds of drums interpose which are accompanied by a radio narration of a chase, a return change is present with a vinyl spin between voices from GTA & WU Tang Clan which make an intro for an infusion of breaks fully aligned to the beginnings of oldskool drum and bass which are accompanied by voices recorded, treated and edited to connect more directly between the spaces interrupted by the glitch acid chords.

Among contrary structures "Analha" contains hidden but marked criticisms, it is a project that comes from 2018 and ended at the beginning of 2019 which made him think about how to involve more than music within his own sound narrative.

The sonorous identity of rachiid today is different, he understands his environment but does not believe in adapting, he tells us that each exploration and discovery during these years have led him to think how this first release was born until now but is not connected at all with what nowadays, describes his sonority today as changeable, essential and highly with IDM, experimental and breaks.

Part II - Operated under extreme psychosis, performed live in the dead of night at the studio of The Hague's pirate 'Radio Tonka', these two records contain an apocalyptic selection of the very darkest moments of its maker, an Anglo-French 'Bruxellois' driftwood expat washed ashore on the West Holland wasteland just to get even more lost in its empty shadow chessboard grid of luscious ghost town smoke screen structures built on nothing but loose sand, to get even more entangled in its reef-like vortex of the fleetwood parkland dune estates' artifice of ugly evergreen high-tech verdure of 'Rose and Thorn', oh, yes, its many, many flowers 'sans Mercee', red and white Carnation, Asphodel, or 'Fleur de Lys' and 'Fleur du Mal', all awaiting, lurking gentle softness of the flesh, perfumed for luring prey, yet strikingly hard-wired through the courtly appearance and the troubling foliage of the Count's many hidden pleasures, His many secret palace garden hedges, His Royal Seal concealed behind, oh, yes, its many, many spines, all hiding midst the ticket, like cloak and dagger, that poisoned slip of tongue, or poisoned tip of blade, and all's so easy to slip away and disappear into the vine and creeper, to make one trip and fall in smear of mud or was it blood? And then how swift and sudden one may hear the ominous approach, of tainted fearful hooves, of painful stainless steel, yet steadily encroaching, by mad design, this harsh and grinning, eerily certain sound of mind-breaking, body-slicing, brain-crushing, meat-cutting, soul-shattering Gargantua of industrial machines, this constant dissonant harmony, distant yet distinct, with certain paranoid unspeakable voices of deepest Hades' underworld despairs, this Abysmal flood of uttering words of God knows what madness, or God knows what truth? This one-way Path, this one-man War, this one-track Fate, this endless Road to hit Rock Bottom, I'm terribly afraid it's going to be a very, very lonely place out there...

Chemical Beats It’s the year 2021 and Sascha Müller is making a solo return with a 7″ single on Intrauterin Recordings - an astounding 16 years after his first appearance on the label back in 2005. Coming in raw, dirty and powerful as it gets “Beat Junkie” weighs in a hypnotizing, grinding and surely Acid-fueled take on distorted, hard hitting peak time beat science whereas “Dope Beatz” caters a brutal, dancefloor devastating variation of heavyweight (Electro)Phonk x Chemical Beats for strobe-lit industrial dancefloors throughout the darkest, most vantablack hours of the night. 100% untamed underground music for those in the know. Initial pressing will be limited to 200 copies on 7″ gold vinyl.