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It was a quiet period but Macadam Mambo is back to present a new LP by the greek musician Yannis Veslemes.
The confirmed artist -who has previously appeared on labels such as Byrd Out, Invisble Inc., Won Ton, Optimo Music or Into The Light, under different projects : Felizol, Steamcut,Sportex or his own name, and composed for movies OST -started to integrate Macadam Mambo on the latest compilation Danzas Electricas vol. 3, and very naturaly proposed his new album. It needs to be said what an honnor to receive such quality music. In term of composition, production and universeit’s a land of influences and uniqueness, in which you will recognise a bit of Yello, Coil, Nick Cave or Igor Wakhevitch vibes embrassing folkloric greek melodies or cosmic pop ballads. It’s brillantly dark, obscure and lightful. A tempest of sensuality and roughness. To say it short it’s EPIC! and will definitely give the recognition that Veslemes deserves as a major composer in Modern Electronic Music.

Back in 2018, Lumière Noire celebrated its first anniversary with a compilation featuring thirteen exclusive tracks by an eclectic group of electronic musicians – a family portrait of sorts. A few months later, a second volume of From Above, compiled by the label’s artistic director (and DJ) Chloé, once more brings thirteen established acts together with promising upstarts. The first compilation was the embodiment of the label policy advocating for both artistic excellence and a widening of electronic aesthetics – bopping from deviant house music to adventurous IDM and to the rigor of dancefloor techno, among other electronic explorations. Some of the artists featured are now closely associated with Lumière Noire, while others were more established performers such as Benedikt Frey, Lauer, Jonathan Fitoussi, Il Est Vilaine, Dave e Brun (half of Swayzak) and Frank Agrario, as well as upcoming artists such as C O N T R

Emerging from the ashes of Ireland's early rave era - that had been absorbed into the vastly commercialised club scene of the late '90s - was an oft forgotten, but exceptionally fertile period for electronic music in Ireland. Spearheaded by the then Dublin duo of Decal (later becoming the solo project of Alan O' Boyle), nurtured through nights like Phunk City at The Funnel, Model One at Switch and at a later point midweek club haunt Electric City, an unlikely Irish electro movement was born; breeding an abundance of new labels, parties and producers hungry to make their mark. "Dreams of Electric Bleep" revisits a crucial time of development (1999-2005), when production standards on the island of Ireland rose in perfect synchronicity with the collapse of the music industry as we knew it.

While Detroit, The Hague and London heavily influenced the sounds heard in the clubs, clubs in pubs, warehouses and great outdoors of Ireland - it was producers from Belfast, Cork, Donegal, Dublin, Limerick and Mayo who created the first significant chunk of high-quality Irish electro, demonstrated here over a range of styles (originally released a variety of local and international labels). This double 12" release - featuring key tracks from Decal, Magnetize, Metroneem, Americhord, Phil Kieran, Takeover Sound, Chymera and John Braine - comes on picture-sleeved coke bottle clear vinyl, and includes a download code.

Designed by Jonny Costello (Adult Art Club) with liner notes from Stephen Rennicks (Drexciya Research Lab). Mastered by Paul Mac at Hardgroove Mastering, vinyl mastered and cut by Simon Davey at The Exchange Vinyl.

Unhuman & Petra Flurr is the collaborative synthpunk-technoid project of Bite label stalwart, Berlin-based Greek artist Unhuman and legendary queer wave figure Petra Flurr. 'Mala Vida' is their debut album on Bite that further evolves their sound beyond genre borders. The duo deliver an 8-track LP consisting of punk body music exhibiting the team's mastery on production, their androgynous vision and diverse influences. Petra Flurr's staggered, often effected, vocals cruise over pounding beats, bold iconic hooks and psychedelic atmospheres. His lyrics reference the seedy underbelly of Berlin's sex underground. Meanwhile, Unhuman's productions broadly range from the post-punk references of 'Labyrinth' to the new beat grooves of 'Short Life' featuring Ukrainian duo Garden Krist to the melodic orchestrations of 'Rush'. All this is reinterpreted by techno duo New Frames on a digital remix of 'Unzivilisiert'. 'Mala Vida' is a direct inspiration from their debut performance at Berghain for last year's Bite label night. After which, they swiftly retreated to the studio to compose, still in their platform heels. The two paint a coat of neon red over their preexisting batcave of sound. While the artwork by Liam Noonan compliments the gender fluidness of the album, distorting and digitally manipulating images of the creators themselves. Using heavy rhythmics, wavy mandates, an androgynous stare and unavoidable sexuality, Unhuman & Petra Flurr introduce us to their culled brand of queer death techno. Always with a wink.

The German composer and multi-instrumentalist Secret of Elements returns with "Cassini", the entrancing first single taken from his forthcoming album 'Chronos', a musical chronicle of his moving life story. Chronos - in Greek mythology, the titanic personification of time - is the title of an album that captures Pätzold's musical work over a span of more than a decade. During this time, Pätzold saved the "Volkstheater" in his hometown of Rostock with which he now closely works, travelled to the Mediterranean to save lives during the European refugee crisis, became a father — the list could go on. In combining emotive, cinematic orchestration with warm, dense layers of synthesis, Johann Pätzold aka Secret of Elements has created a deeply moving sound picture through which to narrate his personal struggles alongside the social upheavals to which he has dedicated himself as a ‘music activist.’ "Cassini", the albums centre-piece, is a testament to Pätzold’s perseverance to complete it despite challenging circumstances. It is named after a space probe that was launched into orbit in 2004, and which, after almost thirteen years exploring Saturn, finally burned up in its upper atmosphere.

Four years and one pandemic after his latest Dreams Of A Dark Building EP, the herald of dungeon synth pop is finally back from his shallow grave.

Life has not been gentle with Seattle-based solo producer Parker Lautenschlager over the past few years, imposing its unpredictability and forcing him to channel all the feelings that come with it into Profit Prison’s music.

It’s no surprise that his first full-length album Gilt marks one futher step towards the dark corners of italo / hi-nrg body music. Typical Profit Prison’s vocals and melodies, reminiscent of OG synth masters Kraftwerk, Giorgio Moroder and Orchestral Manoeuvres in the Dark, are still here, buried in the mix and waiting to haunt the listeners and drag them down in one sulfurous dancing spiral.

Lead single Sophia juxtaposes some weirdly camouflaged vocals with one heavenly chorus that seems willing to revive your fortunes while instead it literally sings “But I lost it all”. A Matter Of Tact displays pop escapism over some throbbing minimal synth tension, Seven Words sounds like a throwback to 70’s italo filtered through the eyes of a 21st century punk rocker. Katalina has a rampant synth à la Carpenter climbing over a story of loss and Katalina, An Ascetic is a solo ramble reaching for the inner light on a carpet of cold keys.

What’s more, tracks got longer in Parker’s recent songwriting, with most of the songs being now five minute long and reaching peaks of seven minutes with the closing, almost progressive disco jam of A.R.P. (Amphetamine Research Project), nothing short of a lucid dream on the floor of Studio 54.

Last but not least, the artwork by French artist Robin Roche delivers medieval-yet-punk graphic vibes to match just perfectly the sounds on this record.

A few weeks ago, I was sitting late in the evening just before sunset at Chlodwigplatz in Cologne. For a few years I sat here almost every evening with my best girlfriend, until the café we liked so much fell prey to gentrification and general indifference. For that long, we just sat here in this place and watched people rush to the train stop, go shopping, or heading home. Usually at some point, a homeless person we know briefly came by and we gave him some money. The square and its people are a mixture of very beautiful and incredibly ugly. It is full of contradictions. Like so many things in life. Chlodwigplatz is the heart of this part of town where I have lived for over 20 years. Sometimes I see Julian walking by, somehow elated and always elegantly dressed; we greet, talk briefly, maybe he goes to do sports or to his apartment a few streets away to make music. With Julian, I never really know whether he is happy or very sad. But you can see right away that he feels a lot. Probably we both live here in this city, in this neighborhood, for exactly this one reason. This evening, the sky over the city is a sea of light and colours. The unique meteorological spectacle of nature is reminiscent of impressionist painting, and it is so overwhelmingly beautiful that the social networks are full of photos of this orgy of orange, yellow, blue and gray. It looks like the sky is on fire. I have to think back to this sight when I hear "Sky Without Colours" for the first time and look at the cover. The artwork by Frederike Wetzels and Franziska Stetter for Julian's first solo album looks like a minimalist, reduced abstraction of my memory: a calm surface that very gradually goes from a cool blue to warm reddish colours at the bottom of the picture. But in contrast to the described moment, so colourful and euphoric, the title of the album sounds like a deep melancholy, telling you something about absence and loss. In fact, this album is carried by a very special emotion, it is not a work that communicates with the outside world in bright colours and loud words. Instead, it functions like an inverse image of that glowing sky over the city, almost bursting with intensity: it rests entirely within itself, and yet it burns ablaze. Julian Stetter simply turns the inside out, but he does this without pathos, without kitsch. He gently shifts the lines between club and pop, between song and track, - like a painter he blurs the boundaries (and his traces) and lets the transitions slowly blur. Aydo Abay is Julian's voice, moving through him and through the album, expressing, formulating, giving voice to all that the producer himself lacks the words for. In the beautiful title track "Sky Without Colours", in the floating "No Cure" and finally in the slightly gloomy broken "Mountain Of Geeks" you think you hear Neil Tennant singing, so beautiful, so clear and precise, androgynous and always a little sad Abay sounds here. In the instrumental sketches Julian draws on his long and successful experience as a composer of soundtracks and music for film and theater. The opener "Calm" and especially the last track "Sleep", which embrace the album from both sides, are such little masterpieces that, between ambient and the exceedingly nuanced and careful use of sounds and rhythm, invite the brain to take nightly walks. And there is always this emotional ambivalence, laughing and crying eyes at the same time, looking forward, confidently saddened. Hardly a straight bass drum, no fat beats, - Julian Stetter doesn't need any imperatives at all for an album that sounds musically as well as atmospherically like from one cast; it is rich in spirit, intensity and resilience, full of elegance, passion and of excellent timing. Deep down, it is animated by a remarkably self-assured humility. Listening to "Sky Without Colours" and writing about it actually helped me perceive the person behind producer and DJ Julian Stetter differently. The next time I see him at Chlodwigplatz, I will still ask myself whether he is happy or sad. Only the sky, I now see with different eyes.

Tresor Records is proud to announce forthcoming special editions of its entire catalogue of Drexciya and related projects. 2022 marks the 20th anniversary of the passing of James Stinson and the releases of the Transllusion and Shifted Phases albums. In recognition, the rightsholders, their families, and the label have commissioned Detroit-based contemporary artist Matthew Angelo Harrison to re-conceptualize the covers of Tresor's Drexciya-related catalogue. These editions will be released sequentially, bimonthly, starting early-September 2022. Three months after the album release of 'Neptune's Lair' in September and its companion 12" 'Hydro Doorways' being released in October, 'Harnessed The Storm' and 'Digital Tsunami' are coming on November 11. They are followed by the release of Transllusion in February 2023. The series is completed by the long-awaited re-release of 'Shifted Phases – The Cosmic Memoirs Of The Late Great Rupert J. Rosinthrope' - at the end of March. These records, individually and as a catalogue, represent some of the most crucial moments in the Tresor label history, with the sound and mythic world of Drexciya undoubtedly inspiring generations.

Tresor Records is proud to announce forthcoming special editions of its entire catalogue of Drexciya and related projects. 2022 marks the 20th anniversary of the passing of James Stinson and the releases of the Transllusion and Shifted Phases albums. In recognition, the rightsholders, their families, and the label have commissioned Detroit-based contemporary artist Matthew Angelo Harrison to re-conceptualize the covers of Tresor's Drexciya-related catalogue. These editions will be released sequentially, bimonthly, starting early-September 2022. Three months after the album release of 'Neptune's Lair' in September and its companion 12" 'Hydro Doorways' being released in October, 'Harnessed The Storm' and 'Digital Tsunami' are coming on November 11. They are followed by the release of Transllusion in February 2023. The series is completed by the long-awaited re-release of 'Shifted Phases – The Cosmic Memoirs Of The Late Great Rupert J. Rosinthrope' - at the end of March. These records, individually and as a catalogue, represent some of the most crucial moments in the Tresor label history, with the sound and mythic world of Drexciya undoubtedly inspiring generations.

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.

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.