Recent posts: Techno

Label/Cat#: Circus Company France – CCCD 014
Year: 18 November, 2013
Source: WEB, Album
Format: MP3
Quality: 320 kbps
Size: 127 mb
Genre: Electronic
Style: Deep House, Tech House

Tracklist:
1. Intro (01:51)
2. Beyond (06:51)
3. Amanite (06:50)
4. A Quiet Storm (05:17)
5. Ethereal Thoughts (06:12)
6. CAVOK (06:57)
7. Anatomy Of A Shipwreck (06:41)
8. Lies (05:42)
9. Subterranean Rivers (05:51)
10. Ditching (03:34)

‘We have been proud to watch the rise of Oleg Poliakov after he first joined our ranks with Datcha Musik way back in 2007. Since first swearing allegiance to the Circus, he has continued to unfurl a refined approach to house and techno that carefully balances a respectful mastery of the classic tropes of the genre with his own instinct for seductive melodic content. Finally, after no less than eleven singles for labels such as Bass Culture and Eklo as well as us, the time has come for Oleg to embrace the album format and take us on a journey that stretches beyond the immediacy of a dancefloor 12” and captures perfectly where he is at right now.

As the preceding single C.A.V.O.K has revealed, there is a techno spirit roaming the circuitry of Oleg’s studio, tussling with the delay and reverb gates, firing off focused, intricate rhythms and unafraid of whipping up a mean-tempered kick or two. Across Random Is A Pattern you can hear such energy surging out of tracks like “Beyond” and “Anatomy Of A Shipwreck”, with the latter having an especially tough rhythm section. However, these cuts have just as much brain as they do brawn, and in between the driving drums sit haunting pads, ethereal dub textures and curious string harmonies.

This is not an album of functional club tracks though, far from it. Recognising the value of the long player as a vessel for exploration, Oleg turns his hand to some truly unexpected patterns and tones. “A Quiet Storm” comes from the school of classic ambient electronica and leftfield broken beat, while “Holy You” makes for one of the most startling moments on the album with a powerfully resonant vocal sample over plaintive piano and a fractured rhythm.

While some may be surprised to hear the styles that Oleg has turned his hand to, the ten tracks are undeniably his. In his choice of mysterious chords and moving key structures, he continues along the smooth creative arc he has been carrying us on since he first emerged. The drums might bite harder in places, or softer in others, but Random Is A Pattern makes perfect sense as the logical next step in the unfolding story of Oleg Poliakov.’

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Label/Cat#: BerMuDa – BERMUDA 004
Year: 18 November, 2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 369 mb
Genre: Electronic
Style: Deep/Tech House

Tracklist:
1. Sascha Braemer – You (Finnebassen remix) (06:53)
2. Herbert – It’s Only (DJ Koze remix) (07:43)
3. Lee Jones – A Perfect Kick (Matthias Meyer remix) (08:25)
4. Fritz Kalkbrenner – Hear Me Roar (original mix) (06:53)
5. Oliver Koletzki – Childhood Basslines (original mix) (06:39)
6. Mano Le Tough – Everything You’ve Done Before (Dixon remix) (06:28)
7. Ruede Hagelstein – Detuned (original mix) (06:39)
8. Black Rose – Sky (feat Luisa Gerstein – original mix) (06:06)
9. Subb an/Tom Trago/Seth Troxler – Time (original mix) (07:42)
10. Siriusmo – Itchy (original mix) (03:32)
11. Tale Of Us – Another Earth (original mix) (05:45)
12. Hot Since 82 – Like You (original mix) (07:18)
13. Ten Walls – Gotham (original mix) (09:11)
14. Mind Against – Atlant (original mix) (09:00)
15. Daniel Stefanik – Confidance (Adam Port remix) (07:57)
16. Francys – Memories (Marco Resmann remix) (05:59)
17. Ellen Allien – The Kiss (Jesse Perez remix) (06:59)
18. Sons Of Tiki – Moon Waltz (Mathias Kaden’s Tiki Taka remix) (07:00)
19. Pan Pot – White Fiction (original mix) (08:47)
20. Marcel Dettmann – Linux (original mix) (05:03)
21. Kink/Sierra Sam – My Space (Kink’s hardcore mix) (05:22)
22. La Fleur – Nightflow (Kenny Larkin drama mix) (14:59)

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Label/Cat#: Dark Face Recordings – DFR 062
Year: 28 October, 2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 66 mb
Genre: Electronic
Style: Tech House

Tracklist:
1. Bleed (original mix) (07:35)
2. Bleed (Doublewave remix) (08:14)
3. Bleed (Mateo! remix) (06:50)
4. Bleed (Mateo! slower remix) (06:32)

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Label/Cat#: ADRO – ADR 066
Year: 12 March, 2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 53 mb
Genre: Electronic
Style: Tech House, Techno

Tracklist:
1. Able The Future (08:00)
2. Able The Future (Kirill Zaretzki remix) (07:42)
3. Able The Future (Kapshul remix) (07:36)

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Label/Cat#: Resident Advisor – RA.389
Country: UK
Year: 11 Nov 2013
Source: WEB
Format: MP3
Quality: 256 kbps
Size: 136 mb
Genre: Electronic
Style: Techno, House

Tracklist:
1. Various – RA.389 (59:30)

Luke Slater has always enjoyed adopting aliases. Between 1989 and 1992 he used six different names across eight releases on Jelly Jam Records, the label he set up with Alan Sage. Throughout the ’90s, he added Krispy Krouton, Deputy Dawg and Clementine to his roster. These days he’s mostly using just two: Planetary Assault Systems and L.B. Dub Corp. The former is his oldest and his most widely known. As P.A.S., Slater has spent the last 20 years exploring pure forms of techno, releasing five albums and countless 12-inches. L.B. Dub Corp is a relatively newer alias, which Slater adopted in 2006 as a place for house-orientated material. Both names have found a loving home in Ostgut Ton. Outside of Slater’s own Mote-Evolver, the Berlin label has put out two P.A.S. LPs to date, and as of today have released Unknown Origin, the first L.B. Dub Corp album, which sees Slater stripping down his sound on ten sharply focussed house productions.

For his RA podcast, we asked Slater to capture the spirit of both L.B. Dub Corp and Planetary Assault Systems. He came back with a gradually evolving session, which begins with gently bubbling house and ends with full-bodied techno, all shot through with Slater’s singular sense of sound design.

What have you been up to recently?

Writing, playing, releasing and listening to music. Travelling, celebrating the unknown and randomness and being a bit of a spiritualist at heart.

How and where was the mix recorded?

I recorded it in the Mote-Evolver office late at night.

Can you tell us about the idea behind the mix?

It’s an L.B. Dub Corp to Planetary Assault Systems mix, and I guess it could have been much longer as this condensed story is celebrating diversity, blend and dynamics within that idea. Those were the inspirations to try and get a listener from L.B. Dub to P.A.S. in a cohesive and adhesive way.

You told us in regards to the L.B. Dub Corp record that it was “easier to pinpoint what I didn’t want in the music. On that basis I started to write.” Can you expand upon what you didn’t want in the music?

Needless synth rises, drum rolls; dry compressed, pin-accurate production; sticking a stab in for the sake of it. These are not negative observations, they all have their place in the big music spectrum, but I think I’ve been around long enough not to crave the easy plastic slippery path to self-loathing. I see music writing to some extent like writing a book: prep work needs to be done, ideas need discounting and throwing away until a few feel right and stick.

I wanted to describe the sound of L.B. Dub Corp with the record, and to do that I needed to work out what it was with L.B that makes it its own entity. I wanted to concentrate on the story in the tracks, the feeling. L.B. Dub Corp is not P.A.S. and I needed to get the musical story as pinpointed as possible, otherwise the album probably wouldn’t have been written. Artistically I’m pleased with the result.

You also mentioned that you’d dabbled in poetry down the years. Is this something you’d like to pursue more concretely at some point?

Maybe poetry’s something you age into or not. For me personally, listening to poetry is much better than reading it, and with the right poet I think it’s getting to wider audiences these days than in the past. I’ve always been a fan of Cooper Clarke, and especially Benjamin Zephaniah looking at modern street level poetry. Last year I actually started with an idea of making the whole album with poetry but didn’t have enough material I felt fitted with the music. So I only placed poetry where it felt right.

It was a dream using Benjamin Zephaniah’s inspiring vocals. That particular poem sums up a lot for me and with the humorous edge it’s made real. I might develop the idea around poetry more if it feels good. There’s a lot of poetry to wade through, and a lot seems rather pointless and rambling so hitting on something you like is a catch.

What are you up to next?

Some more L.B. sets coming up after putting together an L.B. Dub Corp experience set at ADE this year, which was a lot of fun. P.A.S. live is still on the road and works well at larger events and essentially feels at home there. We have some interesting releases planned on Mote-Evolver which will see the light of day in the new year. It seems that after all these years I’m on the road a lot as always, a man with no country. That is how it must be and how it is.

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Label/Cat#: Spectral Sound US – SPC- 114
Year: 18 November, 2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 46 mb
Genre: Electronic
Style: House, Techno

Tracklist:
1. Valley Road (We Are 1) (07:37)
2. Valley Road (We Are 1) (DJ Qu remix) (06:14)
3. Alpha Helix (05:33)

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Label/Cat#: Fields – FLDS 004A
Year: 28 October, 2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 56 mb
Genre: Electronic
Style: Experimental, Techno, Electronic

Tracklist:
1. Fragments of Self (05:15)
2. Quantet (05:43)
3. Fragments of Self (Petrels remix) (07:17)
4. Von Der Klippe Fallen (Beatport Exclusive Bonus Track) (06:21)

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Label/Cat#: Tzinah – TZH 043
Year: 18 November, 2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 71 mb
Genre: Electronic
Style: Tech House, Minimal

Tracklist:
1. Sunday Mood (original mix) (08:36)
2. Sunday Mood (Ferro remix) (07:12)
3. Azi E Marti Si Cam Atat (original mix) (07:24)
4. Azi E Marti Si Cam Atat (Lumieux Interpretation) (09:36)

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Label/Cat#: Grow – GROW 004
Year: 18 November, 2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 102 mb
Genre: Electronic
Style: Tech House, Minimal

Tracklist:
1. Sakuran (07:56)
2. Something Comes (07:41)
3. Kibitzer (Easy Changes remix – digital cut) (08:56)
4. Something Comes (Ana+one remix) (07:54)
5. Sakuran (SeQ remix) (07:00)
6. Gezets (Sander Cast remix) (07:34)

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Label/Cat#: International DJ Gigolo – GIGOLO 296D
Year: 11 November, 2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 40 mb
Genre: Electronic
Style: Tech House

Tracklist:
1. House Music Love Music (08:35)
2. Instant Disko (08:47)

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Label/Cat#: Structur Analogic – SA 001
Year: 4 December, 2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 40 mb
Genre: Electronic
Style: Techno

Tracklist:
1. Scavenge (original mix) (05:20)
2. Soul (original mix) (06:06)
3. Soul (Merino remix) (06:01)

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Label/Cat#: Dust – DR 004
Year: 18 November, 2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 53 mb
Genre: Electronic
Style: Techno

Tracklist:
1. Genome (original mix) (06:12)
2. Genome (Kostnic remix) (06:15)
3. Black Cromosome (original mix) (05:19)
4. Black Cromosome (Jose Pouj remix) (05:18)

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Label: Fact
Catalog#: 411
Release date: 18-11-2013
Source: WEB, Mix
Format: MP3
Quality: 192 kbps
Size: 74 mb
Genre: Electronic
Style: House, Techno, Electronic

Tracklist:
Actress – Maze (Long Version)
Osborne – Bout Ready To Jak (Ryan Elliot Remix)
The Mole – Like The Way
Plastikman – Risk Assessment (Original Mix)
Aphex Twin – Actium
Ben Klock – Subzero (Function & Regis / Sandwell District Remix)
Duplex – P.O.M. (Heinrich Mueller Remix)
Philip Gorbachev – Where Is Rony Douglas?
Black Asteroid – Black Acid (Alva Noto Rmx)
O/V/R – Descending The Left Corner (Original Mix)
Isaac Johan – Sally Wants Silver
Myler – Blue Madams
Acid Arab – Sidi Gouja
Forward Strategy Group – Elegant Mistakes
Tiga Vs Audion – Let’s Go Dancing (JoeFarr remix)
Donato Dozzy – Destination: Eskimo pt 1
Gesaffelstein – Nameless
The Velvet Underground – I’ll Be Your Mirror

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Label: LIMITED.G.
Catalog#: LIMITEDG001
Release date: oct-2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 52 mb
Genre: Electronic
Style: Techno

Tracklist:
01. Uncut – A1 Original mix
02. Jesse Jakob – A2 Original mix
03. RPM33 – B1 Original mix
04. Get serious – B2 Original mix

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Label: Krad
Catalog#: KRD100
Release date: 19-11-2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 95 mb
Genre: Electronic
Style: Techno

Tracklist:
01. Amor de Crystal
02. Aun Asi
03. Black Tootsies
04. Desnudandome Ante Vos
05. Indirectamente Expresandome
06. Mia (Original Mix)

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Label/Cat#: Macro Recordings – MACROM 34
Year: 18 November, 2013
Source: WEB, Album
Format: MP3
Quality: 320 kbps
Size: 150 mb
Genre: Electronic
Style: Techno

Tracklist:
1. Feral (02:05)
2. Slowing Time (04:12)
3. African Wig (05:52)
4. Ruins (06:05)
5. Visitor (07:44)
6. Dusk (01:17)
7. Furniture (05:04)
8. Carcass (04:19)
9. Blood & Hair (03:25)
10. Missing In Action (04:38)
11. Floor (05:30)
12. Small Changes (08:04)
13. Fragments (01:11)
14. Summoning (05:52)

When Messiaen set out to transcribe birds’ songs and employ them as models for his compositions, he couldn’t have predicted that by the 1990s wild birds would have started to learn mobile phone ringtone patterns. For “A System of Objects”, RAUDIVE mirrors environments structured as by an invisible hand. He maps an obliquely constructed world through fictional field recordings in which you loose all certainty of what is nature and what is design. Raudive’s music celebrates dance and auditory scenes as rituals, employing our surroundings as sources of ahistorical found sound – primitive technologies used to reach magickal states.

If we can’t be sure any longer of distinctions between truth and manipulation, rituals guide our relations to all encounters. A drum machine and a wooden stick, a sawtooth-shaped electric current and a split rock, woven cloth and petroleum smear all turn into empirical objects of the same class, without a definite past or a predictable impact. We have become dependent on technology we don’t grasp beyond its display surface. Lost on reason, we are thrown back on the ritual to reveal the hidden relations of what surrounds us: the club as the emblematic center of the emancipated individual, longing to bond with equals, again.

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Artist: Vytis
Title Of Album: Underground Movement
Year Of Release:15-07-2013
Label: Silverfield Records / sfr-001
Genre: Techno, Ambient
Quality: MP3
Bitrate: 320 kbps
Total Time: 00:56:04
Total Size: 128 mb

Tracklist:
1 Planetesimal 10:33
2 Metropolis 05:44
3 Factory 05:52
4 Tyrant 09:21
5 Ghost Rider 04:33
6 Train 19:58

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Label: Beer On The Rug
Catalog#: BOTR020
Release date: 03-09-2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 50 mb
Genre: Electronic
Style: Experimental, Ambient, Techno

Tracklist:
1. ’96 Galant 04:35
2. Pretend to be a Cop 02:33
3. Take Off Your Glasses 02:08
4. Gags and Broken Fingers 08:24
5. Two Winter Graves 03:55

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Label: Deep-X
Catalog#: deepx229
Release date: 17-03-2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 89 mb
Genre: Electronic
Style: Tech House

Tracklist:
01 – Parrallel (Short) (7:30)
02 – Rythmo (Edit & Extended) (6:37)
03 – Parrallel (X) (9:30)
04 – Tshelebiworld (6:37)
05 – Tshelebiconfusion (5:33)
06 – Risperdal (6:48)

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Label/Cat#: Resident Advisor – RA.390
Country: UK
Year: 18 Nov 2013
Source: WEB, Mixed
Format: MP3
Quality: 320 kbps
Size: 208 mb
Genre: Electronic
Style: Ambient, Dub Techno, Experimental

Tracklist:
b]1.[/b] Various – RA.390 (90:35)

The dub techno artist goes off-piste.

Rod Modell is an artist very firmly associated with a particular style, namely dub techno. Since the late ’90s, the Detroit native has mined this murky and atmospheric sound, whether on his own or with Steven Hitchell as Echospace and cv313. Though clearly inspired by Basic Channel and its related projects, Modell has always been committed to moving beyond dub techno’s old testament, creating something fresh and modern with each new release. These days Modell is moving faster than ever before. He splits his time between Amsterdam and Detroit, and seems completely uninterested in the past, especially when it comes to his own music. Deepchord’s latest album, the almost beatless 20 Electrostatic Soundfields, is his most experimental yet.

On RA.390 we see him at his most unhinged, weaving a strange and dreamlike bricolage that’s at once completely new and unmistakably Deepchord.

What have you been up to recently?

Just back to Michigan from Amsterdam. Will be here for a few months, then back to Holland after the holidays. For the past three to four years I’ve been splitting my time between Amsterdam and Michigan. In the studio lately I’ve been more obsessed with sound design in lieu of making songs. The sound design aspect seems more important at the moment. I think sound design in electronic music is 25 years behind. Everyone’s obsession with old analog synths is perpetuating this. Instead of focusing on up-to-date options, everyone is hoping for yet another incarnation of classic gear from the 1970s synthesizer graveyard. It’s retarding music.

How and where was the mix recorded?

Recorded in Michigan with a pair of DJ CD players, DJ mixer and outboard filters / FX.

Can you tell us about the idea behind the mix?

Lately, I find myself drifting farther and farther away from techno / dub music in favor of the stuff I liked 15 years ago. I haven’t bought a techno record in three years. Around my home, I listen to old 1940s/50s music and field recordings. Electronic music overall seems to be stagnating. I can’t remember the last truly innovative record that I’ve heard. Naturally there may be a few exceptions, but they are (too) few and far between. This mix was done in the midst of rediscovering a few boxes of old CDs that I packed away several years ago. They were boxed up when I moved from my last home to the current one (and I’ve been here for about nine years). Wasn’t anything pre­contrived, just my top tunes for the moment. Since rediscovering some of these old favorites, it’s becoming difficult to return to the current glut of mediocre, formulaic grid music.

You said that your latest album is full of quick “audio sculptures.” Could you expand on this?

The music on 20 Electrostatic Soundfields was never made with the intention of having it released. Over the years, I found myself dabbling in video a little, and I made music for these video experiments. This is the music on 20 Electrostatic Soundfields. It’s a collection of soundtracks. Generally, they were assembled quickly to fit the video. The dance floor was never a consideration. They are sound designs to infuse the visuals with a particular intended emotional vibe. They feel organic because they are primarily un­sequenced. It was liberating to sit in a room with an ultra-basic setup—pair of studio monitors, keyboard, looper, FX unit—and record into a two­track recorder (Alesis Masterlink). No computer. No multitracking. Total flow-of-consciousness style without over­thinking or overdubs. Come up with an idea in my head, practice playing it a few times, then press record and do it for real. Much of 20 Electrostatic was done like this.

The picture disc version of the album features some of your photography. What sort of things do you tend to focus on?

My primary goal with photography is to record a certain space that I like so that I can go back there anytime I want. I’ve done this since I got my first camera at age five. I hate photographing people or objects. I guess I’m more of a landscape photographer, but not of pretty / pastoral scenes. I’d rather capture dirtier, unusual, or metaphysically­charged places at 3 AM. Night seems to be a recurring thread in my photography. I rarely photograph during the day. I like the places where tourists rarely venture. I feel most comfortable / relaxed in these places. The tourist areas are generally staged for show and not a true representation of a place’s real vibe. Like a movie set. The new picture disc features the Amsterdam red light district (near my apartment) on one side, and the beach next to my house in Michigan on the other. Basically the two places where most of my friends reside, and where I feel most comfortable.

What are you up to next?

Trying to come up with an interesting perspective for new music. I never want to revisit something I’ve already done. It’s pointless and gets an artist stuck in a rut. The whole objective is to progress and develop. It would be easy to make another Coldest Season or Lumin (etc) over and over. No challenge in that. I think it’s vital to develop a new algorithm. Every second spent working with an old formula is a second wasted. I recently disconnected my studio and stored some main / favorite pieces, then reassembled things with some old equipment that I feel less comfortable with. We’ll see how this affects things. I’m trying to break from the familiar, get out of my comfort zone, and make new music that sounds nothing like Deepchord or Echospace.

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Label/Cat#: Octopus Black Label – OCTBLK006
Year: 2013-08-19
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 44 mb
Genre: Electronic
Style: Techno

Tracklist:
1. Off Grid (06:04)
2. Off Grid [Roberto Capuano Remix] (07:04)
3. On Hold [Original] (07:40)

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Label/Cat#: 1605 – 1605148
Year: 2013-08-19
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 31 mb
Genre: Electronic
Style: Tech House

Tracklist:
1. Away (07:12)
2. This House Is Mine (06:46)

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Label/Cat#: Skint Records – SKINT290D
Year: 2013-08-19
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 47 mb
Genre: Electronic
Style: Tech House

Tracklist:
1. Groovebox & Blaqwell – Black Magic (06:45)
2. Jan van Lier & Zenbi – One Chance (07:05)
3. Sergio Fernandez – Neo Geo (06:59)

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Label: Knotweed
Catalog#: Knotweed Records 011
Release date: 21-09-2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 64 mb
Genre: Electronic
Style: Dub Techno, Techno

Tracklist:
01. Decompression (8:17)
02. Southern Winds (6:52)
03. Black Enemy (6:23)
04. Nervous Mode (6:48)

After his Cosmic Gate E.P. (Knotweed 004), Gonzalo comes back with four new tracks.

Here he develops further his very unique style of though techno, blending deep, dubby and spacey chords together with a fierce sub-bass and heavy dark background pounding beat for maximum efficiency.

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