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Multiple Man is comprised of twin duo Chris & Sean Campion. Originally operating from Brisbane, Australia their four track EP for Fleisch represents their first record written since Chris’s relocation to New York City. ‘High On The Hog’ finds Multiple Man at a disconnect. Spread between different continents and time zones, the record’s direction is a marked progression from previous sounds. Paranoid atmospherics, sheet metal percussion and unhinged mutant sampling, the record finds the twins wallowing in the muck and the mire. The junk funk is still there but it’s bathed in machine age voodoo. This is not a record for the post-apocalypse but an end of history banger for the psycho rollerball time we live in. Counting down every weird minute until the bombs drop, it represents a grotesque vision of end-times razorback EBM. Continuing the evolution in Multiple Man’s discography and contributing to the Berlin label’s vision, ‘High On The Hog’ throws another piece of meat into the Fleisch grinder. Produced by Chris Campion with additional production on ‘Face to Face’ and ‘You Say Y.E.S’ by Jeremiah Meece Recorded by Chris Campion, Jeremiah Meece, Brady Keehn, Joshua Wells & Dom Stevenson Mastered by Collin Gorman Weiland Artwork and design by James Stuart

SNTS is an underground techno label, commitment to the vinyl format as the main pillar and overall bring the electronic in the anonymity.

FRAK are back on track with this dreamy album with deep dark hypnotic slow rhythmic tracks. This is experimental analog and haunting dancemusic at slow BPMs which gives you a glimpse of swedish smalltown dystopia in all its glory. The A1 track might give the impression that this is a romantic record and the A side in general will make big city people feel the urge to move to small towns again, but on the B-side it just gets darker and weirder (the smalltown kinda reveals its ugly underbelly) and it all ends with a track that would make the taped nipples fake fetishists in techno city shiver. I could say you need a mask to play this out, but lets not take it that far. For old fans of FRAK this record both delivers (A-side) and challenges (B-side). Me, I want doubles. -Joakim Cosmo

Protokultura is brand new record label from Saint-Petersburg, Russia.On the A side Cristian Vogel helps to launch the project with two rare tracks from the golden era,which were produced in 1992 and 1994. On the B side there is Mikhail Panchenko,the man behind Protokultura project with his two hardware jams from the end of 2017.Mastered at Alchemy by Matt Colton

Born in Venezuela and based in Barcelona, Luis Garban aka Cardopusher has spent the last decade creating a wide variety of noisy dancefloor assaults. Although his roots lie in the breakcore scene, he’s slowly gravitated toward a raw, electro-infused take on techno that is no less compelling. Along the way, he’s released music via labels like Terminal Dusk, Murder Channel, Hyperdub, and Tigerbeat 6, and has also found the time to launch his own Classicworks imprint, which he continues to run alongside co-founder Nehuen. Cardopusher has also forged a relationship with German bass enthusiast Boys Noize, issuing a pair of EPs as well as two full length albums. We are proud to present a new 6-track EP titled ‘Muscle Memory’ that takes the listener on a deep and gritty ride through his diverse sound, from techno to electro, acid, rave, and house. Luis is inspired by labels like Warp, Schematic, Planet Mu, Rephlex, as well as EBM and New Beat. Hard-smacking claps and raw TB-303 sequences merge with robotic vocals, solid and perfect for dark dance floors. The B-side features one track with haunting guest vocals by fellow Barcelona musician, IVY BARKAKATI. Luis says the main themes of this EP are obscurity, desperation, confusion, nostalgia, escaping the world’s indifference. All songs have been mastered for vinyl by George Horn at Fantasy Studios. Housed in a workout themed die-cut jacket designed by Eloise Leigh with raw acid-style mixed bold type and sporty graphics.

Repress - SNTS is an underground techno label, commitment to the vinyl format as the main pillar and overall bring the electronic in the anonymity.

This is already our seventh Deep Love compilation and we dare to say our most complete yet in sound and flow. The ten pieces on this sampler blend in perfectly with that laid back “late” summer mood.

SNTS Is An Underground Techno Label, Commitment To The Vinyl Format As The Main Pillar And Overall Bring The Electronic In The Anonymity.

A download code is included. 'Los Lagos’ is Thomas Fehlmann's seventh solo full-length, his 4th for Kompakt following his Berlin inspired 2010 full length 'Gute Luft'. in the musician's own words it’s about "checking the juice". Establishing a picture of his current artistic condition, as suggested by the title - los lagos / die lage / the situation (literally translating to 'the lakes' but taking the meaning of 'wassup' in the context of a relaxed discussion between friends), the album refers to Fehlmann's "musical motivation, dreams and wishes" through the language of music exclusively: a way to "allow myself to techno" he says, "to techno as a means to deconstruct and rebuild again. Set up an area of tension, loose it in the flow of the grooves. Magnifying some detail out of proportion, regroup around that and slowly knit a texture. Expand." "It was time to take a bend and head where the sun rises or sets, wherever my heart drives me." This is pretty much the kind of decision Thomas Fehlmann has made. 61 and shining, longstanding member of The Orb, multi-talented composer and boundless experimentalist, had to make in the twilight of his collaboration with Alex Paterson, eager to taste the flavours of the unknown on his own again. "It was the moment when flexibility would have become compromise”. Far from being the demise of their joint dream, this was bound to split it in two distinct, parallel fantasies - rich of their own singularity.

Helena Hauff cracks through the ice with Qualm, her new album for Ninja Tune. Titled after the German word “Qualm” (kvalm) which translates as fumes or smoke, this murky feeling runs through the album’s intended lo-fi production quality and translates Hauff’s sound as electro with an uneasy feeling of doubt, worry, and fear, especially about one's own conduct.

Widely regarded as one of the leading lights within the darkened expanse of modern EBM DJs and producers, Helena Hauff has consistently throughout her DJ sets and records created an entire universe of dystopian electro, acid and post-punk techno. Having already racked up releases and mixes for PAN, Blackest Ever Black, Dark Entries, Bunker, and Werk, by this point in her career it would be easy for Helena Hauff to take a step back when locked in the studio and knock out ten or eleven tracks of crunchy loops and distorted acid b-lines. Yet Hauff does exactly the opposite, submerging herself in twelve tracks of raw electronics, that then emerge above ground to soundtrack your own street-level science fiction.

Having spent some proper time with Qualm, we'd say it’s probably the most cohesive and enjoyable record Helena Hauff has put out yet. Treating her productions with the same vigour as her extensive DJ sets, Hauff lays the blueprint for each track with a crushing drum beat that plays on while she searches out new and inventive ways to build up vast blocks of tightly built acidic electro, all put right by her modus operandi of jamming on her collection of machines. In her own words, Qualm is about “trying to create something powerful without using too many instruments and layers”.

Hypnotising yet cutting throughout, Qualm is like a nightmarish vision of the day to day ambience of the Kowloon walled city that is created after dark.

SNTS Is An Underground Techno Label, Commitment To The Vinyl Format As The Main Pillar And Overall Bring The Electronic In The Anonymity.

Since its launch in 2013, Bright Sounds has established itself as a label bridging the gap between the dancefloor and more experimental sounds, releasing EPs by the likes of Shlomo, Tilliander, Burnt Friedman or more recently Conforce. On its eleventh release, the label welcomes Ben Thomas aka BNJMN with 'Final Network EP', the UK producer based in Berlin and releasing on Tresor, Delsin, Counterchange or more recently on his newly founded imprint: Tiercel.

After the last release, that was more house-oriented, we can say – in a nutshell – that the upcoming ://ab004 is about: techno.

The Squirrels are back. Their second platter comes courtesy of KIT 'N C.L.A.W.S. (say it out loud), the cheekily-named collaborative project from Squirrels On Film co-founder Brian Hock and veteran San Francisco producer Kit Clayton, and just like the label's first record, it's a woozy, wobbly trip designed for dancefloors drifting between dimensions.
Savvy techno heads will recognize Kit Clayton's name from his decades of experience at the avant-garde of electronic music. In the late '90s, he and partners Tang Tran and Juan Mendez (now better known as Silent Servant) launched Cytrax, a groundbreaking minimal techno label that paved the way for the clicks 'n cuts sound of the early aughts. His debut album — Nek Sanalet, first released in 1999 on Stefan Betke's seminal label ~scape and reissued in 2015 — remains one of dub techno's most enduring documents. Meanwhile, Brian Hock moonlights as the drummer for deranged Bay Area post-punk outfit Bronze while recording murky electro-techno excursions as C.L.A.W.S.

Together as Kit 'n C.L.A.W.S., Clayton and Hock's sound signatures merge seamlessly. SOF 02 opens with "Urn of Stilled Sorrows," in which deep, dubby chords are painted against a spectral backdrop of flute and ghastly wind. Soon a chugging mid-tempo beat appears, and the record's magic becomes apparent: it's as atmospheric as it is irresistibly groovy. Next, "Mariners and Masts" showcases a rubbery acid squelch, setting it against a simple-but-unforgettable synthesizer melody. Last but not least is the pure mood of "The Skies Themselves," a deeply affecting haunted jam that eschews beats in favor of undulating, mesmerizing tones.

Squirrels on Film's second record highlights the strange and beautiful mystique of Bay Area electronic music, with much more to come — watch this space.

Following celebrated compilations from Motor City Drum Ensemble and Young Marco – and with the second edition of its limited-capacity festival in Croatia right around the corner – Dekmantel’s Selectors series now continues with an edition curated by Marcel Dettmann
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Although he’s now known as one of the world’s most celebrated techno artists, even Marcel Dettmann had to start somewhere. Long before he ever held court at Berghain (or its predecessor, Ostgut), he was just another young boy in Eastern Germany, one whose earliest encounters with capitalism involved spending every penny he could scrape together down at the local record shop. In those days, it wasn’t techno that got him excited, but new wave, post-punk, industrial and EBM acts like Front 242 and Depeche Mode

“It’s music from my childhood,” says Dettmann. “It’s still relevant and still inspires me.” That inspiration can be heard across this edition of the Selectors series, as Dettmann has put together what he describes as a “pre-techno compilation.” Much like the previous Selectors editions, the compilation is not a mix CD, but a collection of tracks hand picked by Dettmann from his own vinyl archives. Freshly remastered – and occasionally reworked or re-edited by Dettmann himself – the songs here are undoubtedly vintage gems, but they also represent a very personal journey into Dettmann’s past.

“It was a great opportunity to dig deeper into my own musical outlook,” he explains. “The tracks come from a time before Marcel Dettmann became a DJ.” Simply put, the songs here are some of the building blocks upon which he’s built an incredibly storied career, and now he’d like to entrust them to future generations.

"One Saturday in February I was having an amazing night playing at Oval Space in London. In the middle of my set I dropped '1-4 Doctor C'est Chouette'. A fan came up to the DJ booth to ask me what I was playing. When I told him it was one of my new tracks, he replied - to my surprise - 'There's so much melancholy in this track, what were you thinking about when you made it?' His question struck a deep chord: he had understood what I was feeling when I made the track - isn't that what music is all about? But did I really have to tell him the story? It wasn't the place or the time to get into a deep conversation, so I simply smiled at him to thank him for his enthusiasm. There are times in our lives when we should dedicate a little something to people or places that are important to us. This is what this record is all about: just to say I love you, I miss you or just simply thank you." Laurent Garnier

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After a decade releasing club-savvy music, argentinian producer Alejandro Mosso has lately approached a richer and more profound sound. 'Gaia', his double 12" for Hivern, might be the best expression of such evolution. 'Gaia' is still conceived with the dance-floor in mind -as a matter of fact, some of its tracks have become staples in John Talabot's sets as well as in those of Hivern's core members-. But moreover making people move, it's music that shows a desire of telling stories. "I prefer to refer to them as songs instead of tracks, they all have a certain narrative", says Alejandro. Indeed, these six compositions cover a vast emotional spectrum, expressing raw emotions through detailed and precise productions that never feel too calculated or fabricated. Cuts as Rhea, Uranus and Naiads capture a very specific kind of serene bliss, one in which melancholy is more reassuring than bitter. By contrast, Ares and Dryads explore darker corners, embodying angst through tension-rising soundscapes and solemn choral vocal samples. It's a dichotomy that perfectly captures the ups and downs of any restless mind. In Alejandro's case, it's the result of a particularly introspective period in his life, in which he voluntarily disconnected from the electronic scene in order to regain some perspective on his career and creative process.

Farrago debut shows how Music can be so Simple but at the same Time very Effective. This 4 Cuts are Expressing what this artist can say to us using less possible Elements. Simplicity is the ultimate sophistication.

A year after their impressive last album Burn It Down, Detroit techno legends Octave One are back with a nine track double EP that again shows they are masters of big hypnotic grooves.
Entitled Love by Machine, the album's name is a nod to the fact that the Burden brothers are such revered masters of their hardware. Both in the studio, where they cook up atmospheric house and techno with soaring synths and vocals and also in the live arena, where they are celebrated as one of the most accomplished and forward thinking performers in the game today. That is all the more impressive when you bear in mind they have been active since the ‘80s, most often releasing on their own 430 West label, which is where they appear again here.

Say Lenny: "We've been exploring the theme of connection with this project. How technology gives us the illusion that we are closer to each other more than ever. At some point humanity crossed a line where the devices that we created to bring us together are the same devices that are blocking us from organic experiences.”

"Technology is only a tool, which we also had in mind during the recording process.” Adds Lawrence. "We decided to go back to how we used to make our records, when we didn't have so many ‘sophisticated' audio devices. Back to when we interacted in the studio together as musicians.”

Things open up with the loose metallic percussive line that is In Mono, which sets the machine made tone and is filled with promise. Locator then immediately gets to action with a gallivanting techno kick and various synth lines wrapping round each other as you get sucked into the groove. Just Don't Speak (Midnight Sun Redub) is a more deep and house leaning track with big feel good piano keys and slithering synths that will get hands in the air. Proving they have real range, 7 B4 Dawn is a moody and reserved cut with subtle acid pricks, hip swinging claps and a spaced out dead of night feel.

The second half of the album offers peak time business in the form of the spectacular Bad Love II, the whirring and cosmic Sounds of Jericho and the big loops and fluid grooves of [Where] Time Collides. Pain Pressure is a wonky number with big bassline and a focus on percussive patterns as well as some vocals with real attitude and last cut 8 B4 Dawn ends things in a downbeat and sombre way with sad chords and emotive strings. It is pure Detroit, much like the whole album, and rounds out another fine release from these most revered veterans.

It’s not everyday that pianist and composer, Francesco Tristano, joins forces with one of the Belleville Three - the godfathers of Detroit techno - and yet, anyone who’s followed the Luxembourg artist will know that expectation is not a currency he deals in. Set for release on Transmat, the groundbreaking label from said techno pioneer, Derrick May, Surface Tension is not just the latest album from the prolific Tristano, but perhaps the most significant in his ongoing explorations into electronic music.

Described by the man himself as his “most techno and synth-based project yet,” the eight-track effort is both a celebration of electronic instrumentation and the first record May has worked extensively on for the better part of two decades. “I had to lure him into my studio,” Tristano says of May with a smile, “he was like Alice in Wonderland when he saw the synthesizers.

We are proud to present a new addition to our artist roster.
“STÄRKER have crafted an AURA of Uniqness in their compositions, it is rare to find such denseness and well crafted sound design” says Label head kareem.
STÄRKER's 2nd ep "Scorched" delivers raw, pulsating rhythmic
progressions all masterfully connected to deep ambient drones.
The Berlin-Montreal based duo of Frederic Arbour (Cyclic Law) and Martin Dumais (AUN) deliver haunting industrial rhythms and brooding atmospherics, drawing from an austere palette of abstract sonorities.

River In Me’ is the first single taken from Trentemøller’s new album ‘Fixion’. While the new album is scheduled for a September release, ‘River In Me’ will be available from June 24th and features Jehnny Beth of Savages on vocals, while Trentemøller contributed his own rework for the B-side. ‘I’ve been a huge Savages fan since their debut record.’ says Trentemøller. ‘ I met their producer Johnny Hostile at a festival in Paris and ended up inviting him to support us on our tour. Jehnny actually tagged along for some of the dates. Afterwards, he dropped me a line and asked me to mix the next Savages record ‘Adore Life’. Myself, Johnny and Jehnny built a real friendship in the process so it felt right to ask her to sing on a few of the songs. She has this really intense and unique voice and it ended up being really challenging, and fun, to take that voice out of the Savages’ universe and into mine.’ Swedish director Åsa Riton and Swedish artist Andreas Emenius created an outstanding video for ‘River In Me’ which will be published on the release date of the single. The new album ‘Fixion’ follows on three full length albums ‘The Last Resort’, ‘Into The Great Wide Yonder’ and ‘Lost’ as well as ‘artist-compilations’ like ‘The Trentemøller Chronicles’, ‘Reworked/Remixed’, ‘Live In Copenhagen’ and ‘Late Night Tales’.

New York's Gunnar Haslam appears on L.I.E.S. with his third lp for the label titled "Lebesgue Measures". Picking up where he left off on his last long player "Mirrors and Copulation" we hear an evolution in his sound throughout the nine songs. Still there are the understated yet grooving acid lines next to carefully programmed drums and attention to surrounding detail which creates beautiful and balanced atmospheres. There is a brightness coupled with an underlying sullenness tapping into some sort of mystical and seemingly obscured narrative which moves through the entire record. Deep and immersive stuff to say the least.

Miss Kittin & The Hacker are the Electro duo of Caroline Hervé and Michel Amato from Grenoble, France. The pair met during the early 90s at a rave and soon after bought turntables and began DJing. In 1996, they began writing music heavily influenced by 80s synth and post-punk bands like Fad Gadget, DAF, Liaisons Dangeuresues, and Yazoo, as well as Italo Disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. Upon hearing their demos DJ Hell signed them to his Munich-based International DJ Gigolo label and released their first 2 EPs in 1998 and 1999. Their debut album ”First Album” was released in 2001.
“Lost Tracks Vol. 1” contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused 80’s European New Wave/Italo Disco with 90’s Detroit Electro acts like Le Car and Dopplereffekt. By utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. Their studio set up at the time was a Korg MS-20, Roland SH-101, TR-606, TR-808, Siel DK80, and Boss DR-660 drum machine. The songs are direct, spontaneous, seemingly improvised in places. Miss Kittin sings about falling in love with an alien, sexy nightlife in Berlin, and explicit S&M leather play, all in her cheekily derisive French accent
All songs have been transferred from the original DAT tapes by the band and mastered for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996. Each LP includes a postcard with liner notes from Miss Kittin and The Hacker designed by Eloise Leigh. As Miss Kittin says of these demos, “We were naive, innocent, adventurous and we didn’t expect anything in return”.

DJ Koze’s 2013 album opus Amygdala has continued to bewitch all who encounter it since its release. Tipped as his own personal Sgt. Pepper, the sublime long-player revealed a fully-realised and personal body of work, complete with a classic songwriting at its core, House in its heart, and veins coursing with psychedelic color. “La Duquesa” was the album’s dreamy single standout, a journey into deep, tropical ecstasy. “XTC” begins in the same spirit, and captures the all the blissful allusions of its name, but its initial gentility belies the deep intensity to come. Floating pads glow with celestial ambience as a kick drum is gradually coaxed into solid form, and the introduction of spoken text begins the second act. “Many people are experimenting with the drug Ecstasy,” it says, “…is the drug like the lie and meditation the truth? Or am I missing something that could really help me?". “XTC” then transforms: sweetly imploring tones become demanding, gentle gradients between chords turn hard-edged, and sharp hi-hats cut through the haze. Complete with Koze’s signature percussive quirks, it drives towards the track’s final pay off: an undeniable, all-consuming, irresistible high. “Knee On Belly” recalls Koze at his most tongue-in-cheek and overt; it is bright, bold and literally brassy, using cut-up horns of all shapes and sizes to patchwork together his own unique arrangement. With the highs and mid ranges accounted for, Koze adds in a swollen, thrumming bass line to mix to bring this floor-filler to life. “Knee on Belly” recalls a raw, filtered and funky approach to groove, with a nod to disco house and the art of artful sampling, as it orbits between its own neon highs and simmering lows.

The label say "While the 'Kepler' planter is still investigated it's time to get some reports from the ongoing interplanetary mission. Remixing tracks is not an easy task and only solid cosmic craftsmanship would do the job. The ClekClekBoom orbital station has luckily found two special extra crew members for this tricky and delicate operation.

Michael is the debut full length from Les Sins, the dance project of Toro Y Moi’s Chaz Bundick. Inspired by cartoon and movie soundtracks, the largely instrumental album explores classic dance and pop music traditions. Catchy, repetitive vocal hooks gel with beats and synth work influenced by house, techno, French electronic, and ’90s hip-hop production. Bundick made the album over two years and recorded everything in his home studio.

The funky “Why” features vocals from Berkeley, Calif. singer-songwriter Nate Salman asking “Why you wanna go and do that?” “Bother” holds down a head-bobbing, body-moving groove until a stunning hallelujah moment straight out of a sci-fi version of Kanye West’s My Beautiful Dark Twisted Fantasy. While there are no concrete themes associated with the album, Chaz says he can imagine all of these songs playing in the middle of the brilliantly lighted and busy Ginza district in Tokyo.

Touchstones like Timbaland, Mr. Oizo, and Daft Punk, and contemporaries such as Motor City Drum Ensemble offered inspiration, but most influential on the making of the album was the sage advice of a design icon. “My favorite graphic designer, P. Rand always said, ‘Don’t try to be original, just try to be good,’” Bundick says. “When making this record that was/is my mantra—it was just constantly looping in my mind. I believe ‘good’ is timeless and once you can recognize that you’ll see the world in its fullest.”

Michael follows a 12” on Carpark Records and two singles for Jiaolong. The LP is the first release on Company Records, a new label partnership between Chaz and Carpark.