Urban Force is an alias of a really well-known Detroit techno producer and we are happy that we can release a 15 years old and lost dub techno track of him with a deep and dubby remix by youANDme. Vinyl is cut with 45rpm and if you play it with 33rpm you will hear a special surprise.
The 8th offering in the PRRKWHT series is a 4-track counting slab of wax which offers both some top names from the Rotterdam scene as well as international house hold names within Techno music. For the A1 Rotterdam based artist Ben Buitendijk offers a dubbed out Techno cut that fits this branch of the PRRUK operation perfectly. ARKVS offer a staggering and deep Techno cut that would soothe any dance floor situation. Echologist and Matrixxman open up the B side with ''Threshold'', a funked out Techno cut that uses immense chords and a thumping bass. Steve parker closes down this well balanced VA with the excellent ''Destination Moon''.
To accompany the second instalment of the 4 part VA series on Modern Hypnosis. Behold this mighty little system shaker featuring a collab from Bukkha & Frenk Dublin with Somah on the flip.
140bpm dubwise sounds = minimum 8 scoops required for play back.
A Guy Called Gerald’s soundtrack to Trevor Miller’s Trip City novel was originally released in 1989 on cassette bundled with the book. It went on to sell 12,000 copies in a year before becoming an underground cult classic. Reissued in 2021 on vinyl for the first time as part of a bundle with the book, the vinyl is now available to buy on its own.
In the summer of 1989, when Trevor Miller’s Trip City book was first released with a five-track cassette EP by A Guy Called Gerald, there had been no other British novel like it. For 2021, Trip City came back and the original soundtrack by A Guy Called Gerald was also reissued on vinyl for the first time as part of a bundle with the book. Now the vinyl is available to buy on its own.
“I remember back in the 80s, in my hometown, Tony Wilson (of Factory Records fame) was fond of calling Shaun Ryder the WB Yeats of his day. In that vein, whether or not I like to see myself in the canon of Anthony Burgess and Clockwork Orange - with these five tracks, A Guy Called Gerald feels very much like the Ludwig Van to my Alex DeLarge.” Trevor Miller
“Coming on the heels of the acid house classic “Voodoo Ray”, the cut-up vocals, driving bass and hand claps of “FX” and “Trip City” blurred the line between the fictional Tower club and its real-world counterpart The Limelight. This reissue further blurs the lines between past and present, memorialising those heady times of the Second Summer of Love that anyone invested in the counterculture, much like Valentine, can’t afford to forget.” The Wire
“The EP comprises five acid rollers that showcase his transition into the world of sampling, with the title track functioning as the main theme.” The Quietus
‘Self Oscillation’ is made up of 5 club-ready psychedelic workouts swaying with natural momentum, from Ecuadorian superstar Nicola Cruz, who makes his 2nd appearance on London’s Rhythm Section INTL.
The internationally renowned producer, Nicola Cruz, has been instrumental in pioneering the sound of Andean music over the last decade. Born and raised in Ecuador, Nicola has found his own unique way to tap into Latin America’s illustrious musical past to create something utterly contemporary. His previous projects have had the 4 elements running through as major themes: Fire and lava erupted during his sophomore album, Siku, with an Ecuadorian volcano doubling up as a recording space. And now, with his second Rhythm Section release, we are met with sounds of flowing water that Nicola describes as “aqueous explorations”. On this EP, ‘Self Oscillation’, Nicola Cruz fuses experimental production techniques with underwater, bass-heavy constructions. Moods change like the tides; from euphoric highs with acid riffs and latin drum patterns, the music quickly dives to moody submarine basslines and dark, frenetic rhythms.
‘Self Oscillation’ sees Nicola’s production move to new heights as he expertly bridges the gap between natural and mechanical sounds. With the help of iconic 80s and 90s synths and the retro colours of a Roland Space Echo, his newest work is a hybrid of electronic dance music and a synaesthetic image of nature. In the spirit of his previous EP on Rhythm Section INTL, ‘Self Oscillation’ showcases the synergy - or rather ongoing battle between the organic and inorganic, the analog and digital, civilisation confronted and confounded by nature. It’s within this dichotomy that Cruz revels, and manages to say so much, without words.
Long-awaited 2022 reissue of the "Overmind" album on De:tuned presented by The Kosmik Kommando AKA Mike Dred. Mike hardly needs an introduction: he started out in the 80s and is considered as one of the masters of the Roland TB-303. In 1990 he established the Machine Codes record label. A couple years later he joined Rephlex and R&S Records. Together with Aphex Twin, Mike was behind the Universal Indicator releases which are among the most collectible and sought after records in techno history.
De:tuned has worked closely with Mike to develop an 8 track project that gives props to the American Psychologist Timothy Leary and his proposed theory of "The Eight-Circuit Model of Consciousness". The Models are applied to the "Overmind" album and present a varied collection integrating acid house, techno, electro and rave culture. 3 of the tracks on offer here were written exclusively for Mike's live performance at the De:tuned "Meeting of Minds" event in June 2012.
Mastered by Thomas P. Heckmann and graphic makeover by Kevin Foakes (Openmind, DJ Food, Ninja Tune). Stay Tuned!
A1 The Kosmik Kommando a.k.a. Mike Dred - Biosurvival
A2 The Kosmik Kommando a.k.a. Mike Dred - Neurogenetic
B1 The Kosmik Kommando a.k.a. Mike Dred - Sociosexual
B2 The Kosmik Kommando a.k.a. Mike Dred - Neurosemantic
C1 The Kosmik Kommando a.k.a. Mike Dred - Psychoatomic
C2 The Kosmik Kommando a.k.a. Mike Dred - Neurosomatic
D1 The Kosmik Kommando a.k.a. Mike Dred - Emoterritorial
D2 The Kosmik Kommando a.k.a. Mike Dred - Neuroelectric
Long-awaited 2022 reissue of the "Overmind" album on De:tuned presented by The Kosmik Kommando AKA Mike Dred. Mike hardly needs an introduction: he started out in the 80s and is considered as one of the masters of the Roland TB-303. In 1990 he established the Machine Codes record label. A couple years later he joined Rephlex and R&S Records. Together with Aphex Twin, Mike was behind the Universal Indicator releases which are among the most collectible and sought after records in techno history.
De:tuned has worked closely with Mike to develop an 8 track project that gives props to the American Psychologist Timothy Leary and his proposed theory of "The Eight-Circuit Model of Consciousness". The Models are applied to the "Overmind" album and present a varied collection integrating acid house, techno, electro and rave culture. 3 of the tracks on offer here were written exclusively for Mike's live performance at the De:tuned "Meeting of Minds" event in June 2012.
Mastered by Thomas P. Heckmann and graphic makeover by Kevin Foakes (Openmind, DJ Food, Ninja Tune). Stay Tuned!
A1 The Kosmik Kommando a.k.a. Mike Dred - Biosurvival
A2 The Kosmik Kommando a.k.a. Mike Dred - Neurogenetic
B1 The Kosmik Kommando a.k.a. Mike Dred - Sociosexual
B2 The Kosmik Kommando a.k.a. Mike Dred - Neurosemantic
C1 The Kosmik Kommando a.k.a. Mike Dred - Psychoatomic
C2 The Kosmik Kommando a.k.a. Mike Dred - Neurosomatic
D1 The Kosmik Kommando a.k.a. Mike Dred - Emoterritorial
D2 The Kosmik Kommando a.k.a. Mike Dred - Neuroelectric
After his sought-after debut 12” on I Love Acid last year, which sold out in less than an hour, notorious Brooklyn DJ & producer WTCHCRFT returns with a full EP on Posthuman’s Balkan Vinyl imprint. Four tracks of hyper-energetic acid & jack, direct gear for the dancefloor and already heavily club tested. Title track “Drugs Here” sets the pace for the whole EP, with “No Time To Lose” bringing WTCHCRFT’s signature vocal edit style. B side banger “Uhmm” recently featured on TSHA’s Fabric mix compilation. Hand numbered edition of 666 copies, randomly assigned to either red or blue marbled heavyweight 180g wax.
After the widely acclaimed "Rituals" album released in April 2020, Flore is now back to the cherished area of banger engineering with a four packer of original compositions to be unleashed this spring 2022 on her own POLAAR imprint.
The project’s title itself shows clearly what her program is all about : "Legacy & Broken Pieces" has to be seen as a cruise into the anterior future rather than a trip down memory lane. Following this mantra, it’s more than clear that her music does not constitute a tribute to any previous club music history, but has to be seen as a true proposition of sonic innovation and moving paradigms.
"I'm tired of the nostalgia that can be found in electronic music nowadays. With everything that is going on right now, the world will never be the same. Then why should music has to be so ?" says Flore.
Thus, she offers to rework this legacy with her very own vision of sound wizardry, providing a wide range of sonic textures to fulfill this forward goal of breaking patterns within the electronic continuum. Yet another proof of Flore’s skills for always trying to innovate and never repeat herself.
“Disruption” echoes an aerial jungle of the former century while “Fiery Principle” rides Jamaican waves of bass soon dynamited by minced voice samples evoking a soul goddess from the 90’s. The upbeat intro of “The Switcher” leads us towards a choir of drums navigating various black rooted rhythm traditions, but tripping into a very refined and spatial production effort. The records ends with “Primary Mineral”. Its rough and matte sound seems to drill into a wall of fragmented beats racing towards an elusive end, suggesting another musical adventures to be revisited soon…
Emerging from beneath the Seine, Parisian outfit EZEPH resurface with their debut release. The French duo are no strangers to working under heavy pressure: after a long expedition spent submerged and isolated, they are finally ready to showcase their unique sound to those at surface level.
Title track Observance features a solemn sermon on the direction of society, delivered over a deep, shuffling dub techno riddim. On the flip the vocal is cut, leaving a raw chugging, high pressure version.
The long awaited second instalment of our 4 part VA series.
Opening track ‘Dub Free pt.3 (Rose line mix)’ is a masterfully produced and mixed dub techno groove by Hiss Is Bliss. With skills at this level, there’s clearly more to come from this French artist.
On the flip, USA born Bukkha, digs into the deep dub techno trenches with Dub Envelope. Situated at 115bpm, a tempo with much possibility, Bukkha hits the nail on the head with ease and exposes a different side to his usual output.
Closing out this carefully curated 3 track 12” - Bristol talent Somah signs off with a dreamy dub break titled Knot Up.
Continuing the theme of community collaboration sparked by Hodge and Simo Cell’s recent 12”, Livity Sound presents the first joint works by Azu Tiwaline and Al Wootton. While they come from distinct settings (Azu in the Tunisian desert, Al in London’s urban sprawl), their music shares a similar affinity for intricate percussion and dub-informed space.
The four tracks on LIVITY052 deal in a variety of rhythms and tempos, veering from the propulsive intensity of ‘Blue Dub’ to the sparse, skipping 2-step framework of ‘Light Transmission’. Azu and Al’s refined, detailed approach blurs the lines between electronic sound design and earthy sonics, resulting in dynamic drum tracks loaded with weighty atmospherics and unrelenting tension.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.
Slinky, a new album from The Fear Ratio, the collaborative project of Mark Broom and James Ruskin, is forthcoming on Tresor Records.
In their first outing since They Can't Be Saved, released on Skam in 2020, they enlist British rapper King Kashmere, who features on two tracks. Where James Ruskin has appeared on Tresor Records for his seminal albums Point 2, Into Submission, The Dash and his recent Siklikal EP, the only appearance of Mark Broom on the label is a 2002 remix of The Golden Apple by Eddie “Flashin” Fowlkes. The duo unveiled this new work and collaboration with King Kashmere in a live show for a 30th Anniversary event for Tresor Berlin televised on Arte, performing amidst a battery of lights and fogged-up refraction. It demonstrated their rough-hewn fundamentals, roving melodies and investiga- tive power, newly advanced by voice.
Death Switch is the first appearance by King Kashmere, savaging questions on segregation and suffering, encoding into our brains the much-repeated refrain - “You wanna know, why they wanna flip the death switch“. Spinning Globe captures Kashmere in a gritty flow over a swaggering beat, bouncing and resonant. This unsanded voice lends an enhanced texture and tension to the highly-processed sonic palette of Broom and Ruskin, accumulating with innate mettle. Elsewhere, Appi dredges depths as widescreen beats lurk, digital artefacts pave the way to a hauntingly melancholic coda. Lacovset features singer Ella Fleur who has worked with Mark Broom on his solo release Fünfzig. It enacts a pointillist gated vocal alongside dolphin-like percussive communications. On LFIVE, the duo embalms their sonic textures with digital effects that flutter austerely with syncopation in the crosswind of a beat that recalibrates at points.
An urgency slowly draws in on title track Slinky through fizzing electronics and fractured drums all corroded. Effem locates a semblance of euphoria, with a trance-inducing release led by swirling arpeggios. Closer KZAP finds the calmest moment on the record, with its wafting, nebulous synths and swamped hip hop beat. Slinky finds an ever-evolving project, The Fear Ratio shapeshifting by bringing in the voice into their work and continually pushing with their incredibly-effected rhythmic styles and peculiar, wandering synthesis.
There was a flickering glow which dazzled and sparkled atop the water of the lake. The last of the summer sunlight was beaming down warm and hot on the open expanse as swimmers took deep breaths and swam in what would be the last of the season.
It was magical up here in the mountains, some called it a zen like paradise. He’d spent many months here, sat by the side of the lake, sketching and drawing the sights and things he saw before him.
Never had he imagined that it might all come to an end quite so quickly for soon he would be back home amongst the tall buildings and the concrete constabulary.
Ozel AB is a producer who has released an array of forward thinking electronic and club focussed EP’s on the likes of Workshop, Lobster Theremin and Third Ear.
Now he is launching his own record label, an opportunity for him to showcase recent material and explore new sounds.
Dirty machine gun funk, dripping in fudgy acidic grooves on this twisted heater from native London badass Shy One. Techno collides with Jazz Fusion across three jams recorded straight out the box and cut exclusively onto wax for Eglo Records. This 7" marks the first in a series of releases from the kinetic, undefinable talent.
Tune in as we join our intrepid hero as he emerges from his sonic bunker , where he’s been in hiding since the dreaded lurgy infected the world. Evil overlords have since taken over our planet with a dictatorship whose prime objective is to erase all creative influences to stop us having fun .Can our hero overthrow them with his sonic arsenal of Electro weaponry?
Karenn are proud to present their debut album, “Grapefruit Regret”. Written and recorded during an intense studio session in Berlin over the summer, the resulting 8 tracks, as exuberant and colourful as their titles, serve to both compliment and contrast with their infamous live shows.
Mastered by Rashad @ D&M Artwork and design by Sean Bell
Big Hands teams up with trumpeter Abraham Parker on Trule with a trio of deep, dubbed out percussion jams. Layers of drums and sparse synth work overlaid with Abrahams jazz inflected trumpet parts, all run through with dubwise echoes.
Al Wootton provides a minimal techno dub remix on the B-side.
a1. Big Hands & Abraham Parker - Aperta (Improv. 1)
a2. Big Hands & Abraham Parker - 278 Dub (Improv. 2)
b1. Big Hands & Abraham Parker - Doppio
b2. Big Hands & Abraham Parker - 278 Dub (Al Wootton Remix)
Born in the US, Avernian grew up in a household that was a melting pot of cultures. With his mother being German and his step-dad being Peruvian, he was exposed to many different kinds of music from a young age. Cumbia, Afro-Peruvian and even Guaracha were constants in his life.
Fast forwarding to his late teens, Avernian moved to Germany to study and get in touch with his German heritage. By doing this, he discovered his love for electronic music and delved into producing. Over the years, he found that the UK sound resonated with him in ways that reminded him of his childhood and so he decided to move to the UK and immerse himself. Avernian’s music pays homage to all of these influences that have played a part in his journey. Elements from these influences can be heard clearly in his output. A sound that cannot be pigeon holed or defined by a singular genre.
Now living in Manchester, he runs his own label and party series by the name of Lurch, regularly inviting down friends and artists he feels a personal connection with in their music. On this debut album, Avernian wanted to showcase every different influence in his music; from Cumbia, Dancehall, UK Funky, Techno, UK Techno, Shaabi. It’s an accumulation of 2 years work also features samples from family recordings & videos to show the connection between Avernian’s music and childhood.
Back in 2021, when Volodymyr Gnatenko agreed to work on his debut album, none of us could have predicted it would be released, post-pandemic, against the backdrop of war. At the time, the 23-year-old producer from Lutsk was riding high on a string of well-received 12s for labels such as Where We Met and Animals On Psychedelics, besides local Ukraine labels such as LSS557 and Rhythm Buro. He was, between covid closures, playing live at Kyiv clubs such as Closer and Kureni, looking to tour in Europe, and spending every spare second making music.
How things change. When missiles began to rain on Kyiv, Gnatenko, alongside a few friends from Closer, hid in his studio. For a while, the bombings did not stop. But for the producer, neither did the music-making. Choosing to stay in the city, he continues to make beats, managing only to mix down between bombing raids. He changed his first name to match that of his president, ditching the previous spelling of his name because it was the same as the aggressor, “[the same as] my worst enemy, I am ashamed and disgusted that I started my career with it”.
The album speaks of softer, easier times. A combination of rich ambience, and laidback breaks alongside loose progressive and trance-fused dancefloor tracks, this debut brings together all the strands that Gnatenko plays with. The process, he says, was exhausting and long. Yet the results are lighter, fresher. Maybe because, he says, “it is dedicated to my future wife. All the tracks are my words of love for her". Deeply hypnotic and freely moving between ideas, it feels like it was made a lifetime ago, not a matter of months. Now, it resonates with a new defiance. It is a debut with an extra layer of meaning.
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