MUSIC

originally released on Main Street Records in 1996, and repressed in 2025.

originally released on Main Street Records in 1995, and repressed in 2025.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1993 by Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1994 by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2023.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1994 by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2023.

"Robin Stewart regrows dub techno from the seeds on 'Crinkle', following 2023's 'When A Worm Wears A Wig' with a set of twisted warehouse melters that apply advanced dub logic to pointillistic technoid rhythms. RIYL Rhyw, Peder Mannerfelt or Rrose.

Think about dub techno for a moment and it's not hard to imagine a very specific aesthetic - something that began with Basic Channel in the '90s and plateaued only a few years later. This was just one application, though; not only has techno mutated in the last few decades, but there's more to dub than bussed tape echo and snatched stabs. Bristol-based Stewart goes back to the source here, considering the way his favorite vintage dub records hit physically, not just how they sound on the surface. It's not an easy mental leap to make, considering the trade up you need to make when you prioritize soft, warm bass throbs over the kind of ear-bleed kicks you'd expect find knocking the mortar from the Berghain brickwork every weekend. When does techno stop being techno altogether, exactly?

So 'Stomach' is a genuine surprise, leaving Giant Swan's punky, maximalist swagger as a distant memory. The off-grid, lolloping kicks are interesting enough on their own, but it's how Stewart treats them that makes the track pop, sinking them in swirling, lysergic goop rather than drowning them out with rinsed tape FX. The oscillating, demonic subs that heave just beneath the surface don't muddy things completely, they crack the sunroof on the top end, letting the industrialized foley clanks and hoarse vocaloid stutters boot us towards an unexpected destination. And although 'Compact' is more trad on the surface - a gated peak-time roller, natch - Stewart's canny processing makes the kicks tickle more than they thump. Everything builds up to the title track, where Stewart freezes mind-rinsing dissociated echo spirals into their own rhythmic forms that push against the relentless double-time thuds, weaving phantom polyrhythms out of thin air while spectral voices whisper overhead.

Don't sleep on this one - just make sure you've got Adrian Sherwood's shrooms plug on speed dial first." - Boomkat

"A growing, single-minded confidence in his thing practically makes time stand still and places us right in the moment and momentum of the music. Crucially, whilst clearly referencing foundational styles, it’s a masterclass in innovation not imitation" - boomkat

Carrier presents Tender Spirits, the third turn on his eponymous series that explores his abstractions at its most sparse and cerebral.

Space maintains great purpose for Guy Brewer, having experimented with this previously for multiple drum-focused missives as Carrier. On his latest release, he treads deeper into the furthest regions of dub deconstruction, with Tender Spirits offering a serene path to the inbetween.

Across 8+ minutes, Light Candles, To Mark The Way moves towards the muted sublime; a gentle half time’d bliss that ebbs and floats across the enveloping mist. Slow Punctures gradually returns to dusk, eerily surveying the hollowed-out remains of its dub architecture with an off-kilter lurch. Carpathian echoes further in stark reduction, a weightless atonal zone anchored by the abstracted pressure suspended within.

Tender Spirits tracks Carrier at exciting new parallels, unfurling his most ascendant and capacious music to date.

Twenty-four years on from its original release, Monolake's seminal Gravity receives its first vinyl pressing courtesy of Field Records. Occupying its own space at the intersection of dub techno, minimal and electronica, it's an ageless album of staggering vision and technological prowess which has matured into an all-time pillar of electronic music. This edition, remastered by the album's key architect Robert Henke, follows on from the recent reissue of Monolake's first album, Hongkong.

Arriving just after the turn of the millennium, Gravity marked a turning point for Monolake. With co-founder Gerhard Behles moving on to other ventures, Henke produced most of the album solo and journeyed deeper into spatial exploration and the dub-informed principles that underpinned their project from the start. Minimalism and negative space run through the whole record, from the keen slithers of percussion pinging through lattices of delay to the hypnotising pulse of subliminal basslines anchoring the tracks. Gravity is a record which hangs on techno's linearity as a form of meditation, but the crystalline clarity of the mix allows every micro-fluctuation in rhythm and sound to cut through.

Compared to a lot of overly sterile digital music released in the early 2000s, Gravity endures thanks to the warmth and texture Henke elicited from his processes — even when leaning into none-more-digital effects like bit reduction. He described the ninth-floor view over Berlin from his studio at night as a key influence on the sound of the record, but the space Gravity shapes out feels thrillingly implacable. Unbound by the standard conventions of time and space, Gravity stands proud as a true original and finally gets the ceremonious vinyl pressing it so richly deserves.

Kompakt is proud to announce, finally, a reissue of the first, self-titled GAS album. Originally released on electronica imprint Mille Plateaux back in 1996, it’s been unavailable in its original form ever since – the version of GAS included in 2008’s Nah Und Fern box featured several different tracks. Here, however, GAS is restored in all its glory, the debut full-length from Wolfgang Voigt’s most enigmatic, quixotic project. There had, of course, been signs of what was to come. Back in 1995, Voigt essayed the first GAS release, a slender, yet remarkable four-track EP, Modern. Its centre label featured a reduced symbol – an overhead or lamp light, switched on, its glow radiating outwards in four bold black lines – a perfect representation of the tight, stylised ambient electronic pop contained on that 12”. A few curious compilation tracks were floating around, too, for Mille Plateaux’s Modulation & Transformation and Electric Ladyland series. If you were attentive enough, you could tell something was up. But nothing quite prepared us for the languorous, effervescing loops and regular-like-clockwork beats that Voigt folded together on GAS. Its six long tracks, all untitled, neither begin nor end but hazily fade into earshot, vibrate majestically in your cochlea for fifteen-or-so minutes – some a bit shorter, some longer – and then meander away, reading the mise-en-scène for the next example of Voigt’s drift and dream logic to unfold. The material is referential in the most distant way, and you can sense only the most evanescent of ghostly presences, haunting these six compositions. GAS feels, also, like a more pliable hint at what’s to come, as the GAS concept really solidified on its successor, 1997’s Zauberberg, and reach its apotheosis on Königsforst and Pop. Those three albums share a very similar palette – blurred, hazy samples, often of classical music, stacked and cross-thatched across a muted 4/4 thud. GAS, then, is an outlier of sorts: it’s more expansive in its remit, lighter in its mood, perhaps more fleet of foot. This, of course, is part of its charm. In clearing space for Voigt, by preparing the terrain, GAS sits both at the edge of the forest, and at the verge of an expansive, wide-eyed future; one where GAS would become truly eternal.

Mark Ernestus’ Ndagga Rhythm Force lick another deadly shot of tumbling, tucked-up senegalese mbalax, making their 1st outing of ’16 and a 3rd 12” together in this line-up since 2015.

We’re all over the sloshing Walo Walo Version something rotten. It’s an utter joy to reprogramme yourself to its tangled syncopation, picking out and anticipating particular patterns with uncertain limbs, revelling in its wickedly stumbling, uniquely resolved meter. If, like us you’re nuts for drums, that lone, hingeing clap will leave you equally rapt, and then there’s a locked groove…

Flip side is also amazing: Ndiguel Groove resets the rhythm to a loping, shoe-laces-tied sort of house bustle sprinkled with lissom guitar and suspended in Mark’s mixing trickery, before turning up a denser original mix of Walo Walo Rhythm riding that Prophet 5 bassline and talking drums ‘aaaard.

A sought-after Dub Techno classic originally released on Berlin’s legendary Chain reaction in 2001, remastered from vinyl for this edition in 2015 by Matt Colton.

A massive personal favourite of Demdike Stare's, Shinichi Atobe's 'Ship Scope' was Chain Reaction's penultimate release in 2001 and, with the benefit of hindsight, also one of the label's most sublime offerings. Phase fwd to 2015 and DDS rightly put it back into circulation with this necessary reissue arriving in the wake of Atobe's much loved archival salvage, 'Butterfly Effect', which caused quite a ripple in late 2014.

Notable not only for its unusually dreamier tone - especially when compared with the rest of the CR#'s - but also for its happily lost-at-sea feel, connoting a deeply romantic and almost shoegazy late '90s / into-the-'00s deep techno aesthetic that would essentially become washed away with the advent and normalisation of mnml techno's pristine production values.

Quite simply, it's a must-have for followers of the romantic streak in Ross 154, Convextion and classic Chain Reaction - do not miss!

Moritz von Oswald, who has laid the groundwork for a deep interaction between genuine Jamaican dub and Detroit-style classic techno through his collaborations with Mark Ernestus, dub techno legend =Basic Channel and Rhythm And Sound, is creating ambient techno. Moritz Von Oswald Trio, a legendary trio teamed up with Max Loderbauer of Sun Electric, the pioneer of , and Vladislav Delay, a master of avant-garde electronic music from Northern Europe and Finland. Stock up on the 4th album "Fetch" released in 2012 from London's prestigious !

“Okie Dokie It´s The Orb On Kompakt“ is already the 13th album of one of Britian's most prized cult bands. We feel it's better that way, because the music of The Orb only has an intensive effect when taken in as a long playing full length. And it proves with this lovingly conjured collection of songs brought together like a collage. The first half of Okie Dokie showcase The Orb´s love for minimal Techno and Schaffel/Shuffle as it is so obviously present in the foreground, while the second half is only reserved to the classic Orb-ish ancestral domain. There are wonderful guest appearances by Schneider TM and Kompakt´s ambient-guru Ulf Lohmann. As many of you know, there is so much history about The Orb you could write a book. Since Jimmy Cauty and Alex Paterson, in the flush of euphoria invented Chill Out and Ambient House in the first summer of love 1988, an incredible amount of things have occurred. The following timeline should give you a rough idea. - Alex Paterson gives up his job as roadie for Killing Joke. - “A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld” is not only the record with the longest title of the world, but it also marks the departure into the new sonic worlds of post-Rave Ambient. - While Cauty goes different ways with The KLF, The Orb re-form themselves and have a big hit with Little Fluffy Clouds in 1990. - The debut album “The Orb´s Adventures Beyond The Ultraworld“ hits the Top 30 in England. - The Orb produce “Higher Than the Sun“ for Primal Scream. - The Orb perform “Blue Room“ as chess-playing aliens at Top Of The Pops. Everything goes. - “Blue Room“ clocking in at 39:58 minutes goes into music-history as the longest time for a chart single ever. - The Orb achieve great success in Glastonbury '92 + '93. - The Copenhagen double concert “to the sunrise and sunset” is eternalized on record: “Live 93“ - Previously a floating member of The Orb, Thomas Felmann becomes a fix member in 1997 - No joke: Robbie Williams takes part of The Orb for a short time. The collaboration “I started A Joke“ is released on a benefit compilation - After 2002 The Orb found with Kompakt a new ambient-loving partner and release a row of singles and play live, as the trimmed-down version as Le Petit Orb. And one more for the extra hush-hush: The Orbs first album “A Huge Ever Growing Pulsating Brain...” was actually a Kompakt release. You can check it out. Besides the actual label Wau! Mr. Modo you can read... Kompakt Discos. Ha!!

Field Records proudly presents the first complete vinyl edition of Monolake’s seminal excursion into experimental dub techno, Hongkong. Originally released on the now-classic Chain Reaction label in 1997, this collection of early singles by Robert Henke and Gerhard Behles has gone on to become a vital listening experience in its own right - a genre classic alongside the other groundbreaking works from the likes of Porter Ricks and Vladislav Delay. The tracks which make up Hongkong were made while Henke and Behles studied computer science and immersed themselves in Berlin’s techno scene. Their early forays into computer-based music production were enabled by the use of the Max/MSP programming environment, forming a backdrop to the landmark work they would undertake in developing the Ableton Live DAW. Henke and Behles travelled to Hong Kong in 1996 to attend the annual International Computer Music Conference, and while there recorded extensive field recordings. These recordings became the glue that pieced together their collaborative tracks into a fluid listening experience for a CD-compilation at Chain Reaction’s request. While absolutely rooted in the embryonic sound of European dub techno, Monolake’s early work possesses a back room, headphone-ready demeanour which lends itself to the album listening experience. In the cascade of rhythms created by precision engineered delays and subliminal, expansive spatial world building occurring throughout Hongkong, the stage is set for a full and thorough immersion. Before the Monolake sound progressed into a more pointillist form of computer music as Henke’s solo project, Hongkong presented a gritty, grainy sonic still tied in some way to the traditional methods of techno production, even as the artists’ ideas were sending the sequencing and arranging in exciting new directions. Remastered and presented for the first time as a complete double 12” package, this is the definitive edition of an essential work in the evolution of experimental techno. As Henke himself explains, “twenty-five years later, this record still holds immense value to me in many ways.”

Rod Modell & Stephen Hitchell’s landmark 2006 vessel docks its first 3 x 12” edition, replete with the first ever Convextion remix and graced by some of the finest dub techno beyond the M-Series/BC canon.

At just-shy of 20 years old, and giving us acute nostalgia for hazier days, ‘Vantage Isle’ is renowned and enhanced with the benefit of hindsight for swirling countless sessions to a depth-charged payload of skanking, trotting, clagged-up dub house emblematic of the Berlin sound’s Detroit echo(space). It was the fateful first release on DeepChord’s own label, ushering tidal waves of moon-pulled grooves that have shored up on shelves everywhere, ready to be cracked out at those times when only the fuzziest stuff will suffice. To our (admittedly patchy) recollection its release coincided a period when mushies were, weirdly enough, legal in the UK and the madge was, well, majestic, and this record was a go-to soundtrack for properly smudged times. 

The first disc ideally oscillates signature strokes of durational, pounding dub house in ‘dc mix I’ and its multiple variations, reshapes, and dubs, notably the likes of their poignant dub noise miniatures such as ‘echo space glacial’ which pushed the BC aesthetic deeper into the brink of oblique, and came up for air in hypnogroggic style on the likes of the ‘spacecho dub II [extended mix]’. Even better, and practically worth price of admission alone, is the Convextion remix - Gerard Hanson’s first - masterfully distilling the elements to a ghostly choral swell swept up in pendulous triplets that eternally transport to the sublime.

100% classique.

Deepchord have emerged from the shadows of their Motor City lair in a big way this year, unleashing their dubby techno constructs upon the public at a feverish pace. Previously appearing earlier this year on a hyper-limited triple-pack, their landmark ‘Vantage Isle’ album has been re-released on CD in an expanded fashion.

Awash in effervescent sheets of reverb and echo that evoke images of Detroit’s decaying urban landscapes as they dissolve into the ether, there’s a certain physicality to the album’s sonic vistas that is lacking from the output of other producers mining similar territory. Where contemporaries such as Deadbeat and Mikkel Metal gloss over the dub with a digital sheen, DeepChord wring their sounds from tangles of live wires and sputtering banks of effects, molding and shaping them by hand until they coalesce into living organisms. It’s a sonic space with one foot in the past and the other firmly planted in the not-so-distant future.

Often resembling a cross between Berlin’s Basic Channel collective and Detroit’s techno lineage, ‘Vantage Isle’ is less an album of individual tracks than a compilation of remixes. Working from a limited sonic palette rooted in the signature warmth of the analog technologies of yore, the collection plays out in true dub fashion as each of the artists involved offers their own versions of the same rudimentary riddim. The effect is similar in fashion to Rhythm & Sound’s classic ‘See Mi Yah’ series, with the basic template examined and reexamined from different angles.

Despite being cut from the same aural cloth, each of the tracks occupies its own niche, with the artist’s stamp firmly imprinted on the final product. The three DeepChord mixes feature lumbering rhythms underpinned by devastatingly deep bass pulses set adrift amid a sea of tumbling chords and skittering delay. Echospace – the collaborative project between Soultek and DeepChord’s own Rod Modell – is well represented with five reshapes showcasing their signature style, which is simultaneously both more ambient and more techno-oriented than anything DeepChord has committed to tape. Labelmate CV313 also impresses, turning in a complimentary pair of tracks that demonstrate the mysterious producer’s aptitude for producing storming waves of driving beats over a milky smooth ambience.

But it’s the contribution from Convextion that really stands out. Paring the beat down to a pulsing mass of kick drums and ruptured bursts of static, the Texas-based producer weaves writhing clusters of chords into the mix as yawning pads bathe everything in a warm, static-fried glow. It’s creepy stuff, but it’s also the visionary highlight of an album that stands tall not just among the glut of contemporary dub techno releases, but among the classics of the genre as well. All in all, ‘Vantage Isle’ is a tremendous achievement that will most likely be held up as a high water mark of the genre for years to come.
-Resident Advisor

Michigan’s Rod Modell makes immersive techno. It doesn’t quite fit into any specific genre mold, so his subtle, nearly anonymous tracks can slip by unnoticed. It’s easy to get lost in the microbial hiss, goopy dub timbres and rumbling muffle to miss the bass writhing in the fuzz or percussive tics cracking the drone.

On Vantage Isle Sessions, he again partners with Soultek’s Steven Hitchell as DeepChord. This new disc comprises 12 remixes by the duo of the elusive "Vantage Isle,” a track so impermanent it appears there was never a proper, original version. The 13th remix, smack in the middle of the disc’s sequencing, comes from the sole outsider: Gerard Hanson (Convextion). It may also be the best thing here. His version is by far the most submerged; strands of shuffling dust pile up on a cyborg samba, immersed in a hail of cut-ups, stray clicks and extended chords. Modell and Hitchell’s "Echospace Spatial Dub" is far more immediate. The closest thing to a straight dance cut, its bass is crisp and dry, looped in a slinky cycle that rattles along a taut trot, leaving the dub FX to plop and squish on the periphery.

The "Echospace Reshape" could pass as early-’90s ambient rockers Seefeel remixed by a Warp glitch-termite of comparable vintage. It’s a radian eight-minute sprawl that, thankfully, can’t decide whether it struts or churns, jets spurting and bass paddling in mutual confusion. The "Echospace Glacial" mix is practically a symphony of aquatic audio, complete with cascading water. The "cv313" reductions are the most surprising. The first applies a more variegated rhythm, its spatter and chipped blips a relief from the disc’s constant numbing throb. The second, the album’s closer, is all crackling froth and organ spume, blissfully coursing through the stereo field.

Modell is in solo mode on the weirder Incense and Black Light. From its title on down, this album has an after-hours feel. There’s more water, but now it sounds like it’s pebbling apartment windows instead of draining along sewer canals. A recurring bongo-like smatter, muted and almost incongruous, adds to the bedroom vibe. It’s as if some vintage space-age bachelor pad LP is spinning absent-mindedly with the volume turned way down. Only the tinniest percussion pops through the silence. Chimes shimmer, hi-hats lisp, steam crackles. Modell’s music always seems to be in this suspended animation, adrift and afloat in a majestic emptiness.
-Dusted Magazine

You might say that the sound of Deepchord results from one of techno's rock-hardest truths: Jack into the primordial 4/4 throb, the universal language of kick-drum, and the rest of your track's sonic spectrum is fair game for experiments of the maddest science.
Deepchord's lab book in this case is a dark-art manual for contacting the Jamaican-dub spirit world, a volume its Detroit-based progenitor Rod Modell was most likely handed by someone from Berlin's Basic Channel label. In its heyday, Basic Channel's style was often tagged "heroin house," a term coined ostensibly to account for the fleeting subgenre's pulsing silvery narcosis. If an opiate reference leaves you cold, however, you can think of it as "scuba house": dance jams for the diving bell. Let's face it, though. All along calling the sport scuba "diving" has been a way of covering up what it really is, and the properties it shares with Deepchord: the sensation of sitting at the bottom of the ocean for a long time and savoring the healing properties of otherworldly ambience. Along those lines, "Deepchord" and "Echospace" would be great brand names for long-range Navy Seal audio espionage gear, the kind you could use to make spine-tingling underwater field recordings of the sort of drifty, murmuring echoes and chthonic subbass tremors, that permeate Vantage Isle. And while the Deepchord/Echospace universe promotes a carefully vintage style, purist should note that it's not wholly analog. Mitchell professes his love for early digital synths, like the landmark Yamaha DX7. As he says in an interview with Resident Advisor, it's a hardware sound, one that distinctly separates it from the kind of computer-software plug-in steez that's the current benchmark for convenient techno production. Released on triple-pack last year as the latest and most epic of Echospace's near-cultishly coveted vinyl productions, it takes material played live at the Detroit Electronic Music Festival in 2001, and in the great spirit of electronic musical anonymity, allows it to be devoured by a wolf-pack of various pseudonyms and collaborations. If you simply heard the album and didn't read about it, you wouldn't know it was the same dubby minimal techno track thirteen times.

That's a testament to the unexpected broadness of palette that is left after it's been decided that you're amputating music down to its barest filtered flicker. The original dubby excursion gets eaten up, obliterated, leaving behind a beatless void on the fourth track, gets resurrected via hardcore throb on the standout seventh track, morphs into a refined and alluring nightclub pulse on the eleventh. Despite all the diversity, Vantage Isle does not, however, span the full geographical expanse of Deepchord's The Coldest Season, which went from tundra to valley to desert plain. Instead its sequence of inspired variations creates a pulsing, silvery rainforest of microcosmic depth. The listener ends up in a position kind of like the protagonist in Kafka's "A Country Doctor," who on first inspecting his young patient finds no physical incursion, only upon a second closer glance to discover a grotesque wound in the same place where there was just bare skin. Such is the effect of this strand of minimal electronics: With its enshrouded maternal heartbeats and diaphonous synths burbles it can lurk in the background of your aural space interminably, only to reach out and smack you without warning. Great for drug addicts, OCD-sufferers, and anyone else with over-acute hearing and/or insomnia.
-Prefix Magazine 

*Fully Remastered* Special stuff from Stephen Hitchell and Rod Modell's cv313 alias, dropping two sturdy but spectral House grooves backed with an epic 22 minute live recording made in "the heart of Detroit". The A-side mixes of 'Seconds To Forever' are made for that non-exclusive club in the clouds, the one where every track is a gaseous anthem which only requires a slow smile of approval. Their original mix is all about strafing bassline movements whose gentle kinetic motions expel intoxicating clouds of dreamy sleep-techno tones for that deliciously anaesthetised suspension. The 'Remodel' organises the effervescence into curling dub chords while a layer of tilted congas from The Howard Street Rhythm Section trickles through the mist. If you need the bliss to last longer flip over for the ultimate catharsis of a 22 minute+ 'Reprise' which was mastered for a forthcoming CD release by legendary NSC mastering engineer, Ron Murphy before he sadly passed away. Hitchell has since retouched the track with some help from Mark Richardson and his analogue desk at Prarie Cat Mastering, sloping the momentum for a near-infinite psychedelic exploration. Sublime.

Six years after the release of the “A Parade, In The Place I Sit, The Floating World (& All Its Pleasures)” EP on anno Records, Brian Leeds, aka Huerco S., returns to the Loidis project with his debut album “One Day” on Incienso.

Heat is a surprise new double album from Shinichi Atobe for Demdike Stare. It follows on from 2017's From The Heart, It's A Start, A Work Of Art (DDS 023LP) and continues a run of highly enigmatic, acclaimed and completely unparalleled productions that follow their own timeless logic. There's no sonic fiction involved; this material really does just turn up on a CD sent by air mail from Japan to Manchester, sparse info, no messing, pure gold. What's that cover art about? It's probaby something to do with the balmy, slightly fucked, sun-stroked material within. "So Good, So Right", the ten-minute opener, will force you to forget about all the shit around you for a while. There are also several tracks called "Heat"; they're all killer. This music takes you elsewhere almost immediately; that fan on your desk is basically a summer breeze. In fact, this whole album is absurd, completely effortless, and a total classic. Find a more life-affirming electronic album in 2018, and there's an ice cream in the offing. Mastered and cut by Matt Colton, cover by Mat Thornton.

Shinichi Atobe’s fifth album for DDS, his first in two years. Deep and sublime, the classic Chain Reaction < > Chicago House vibe, but this time with a swarming Drexciyan undercurrent, somewhere between DJ Sprinkles, Dopplereffekt and The Other People Place, and yet still 100% Shinichi.

It’s odd working with an artist without ongoing dialogue; no context or an exchange of ideas. It’s all conjecture. Here's another CD of material in the post from Shinichi, two years more or less since the last one. No words except for the track titles. Oh, a photo this time.

‘Yes’, positivity, hope. But the album starts with a dystopian vision; something like Dopplereffekt’s sound-chemistry experiments, a tense builder. Big optimistic chasms open up, the Piano House euphoria of the title track, beautiful sunset closer 'Ocean 1’. But there’s a noticeable change too. 'Lake 2’ is more fraught sci-fi, 'Lake 3’ a sort of percussive Chain Reaction monster, 'Loop 1’, on a Drexciyan tip. 

It’s all coated in that weird - some people say infuriating - toppy production, witnessed this time in a more tempered and different formation courtesy of an amazing Rashad Becker master, all precise but loosely swung arrangements. Everything slow to unfurl but, also, everything in exactly the right place. (Boomkat)

Shinichi Atobe has managed to stay off the grid since he made an appearance on Basic Channel's Chain Reaction imprint back in 2001. He delivered the second-to-last 12" on the label and then disappeared without a trace, leaving behind a solitary record that's been selling for crazy money and a trail of speculation that has led some people to wonder whether the project was in fact the work of someone on the Basic Channel payroll. That killer Chain Reaction 12" has also been a longtime favorite of Demdike Stare, who have been trying to follow the trail and make contact with Atobe for some time, whoever he turned out to be. A lead from the Basic Channel office turned up an address in Japan and -- unbelievably -- an album full of archival and new material. Demdike painstakingly assembled and compiled the material for this debut album. And what a weird and brilliant album it is -- deploying a slow-churn opener that sounds like a syrupy Actress track, before working through a brilliantly sharp and tactile nine-minute piano house roller that sounds like DJ Sprinkles, then diving headlong into a heady, Vainqueur-inspired drone-world. It's a confounding album, full of odd little signatures that give the whole thing a timeless feeling completely detached from the zeitgeist, like a sound bubble from another era. This is only the second album release on Demdike Stare's DDS imprint, following the release of Nate Young's Regression Vol. 3 (Other Days) (DDS 007LP) in 2013. Who knows what they might turn up next? Mastered by Matt Colton at Alchemy.

From The Heart, It's A Start, A Work Of Art has its origins in early 2000, before Chain Reaction released the legendary Ship-Scope 12" (later released by Demdike Stare in 2015, DDS 014EP). Three of the tracks here are taken from an acetate cut at Dubplates & Mastering at that time, but which wouldn't see the light of day until now, including another batch of tracks taken from original masters. Only five copies of that acetate were ever made, so this is the first time any of these tracks are available for public consumption, and they rank among the finest and most distinctive in either the Chain Reaction or Shinichi Atobe's vaults. The material is effectively some of the Japanese producer's earliest work, showcasing the sort of tender, feminine pressure that would bubble up on the Ship-Scope EP and later be revealed in his new productions, Butterfly Effect (DDS 010CD) and World yet, for many reasons, they would lay sunk in his archive for the next 17 years. The tracks taken from that acetate are labeled "First Plate 1-3" and really are quite remarkable, having taken on so much character and added weight over the years that the incidental crackle of surface noise imbues proceedings with an added dimension that's hard to fathom. It basically sounds like a lost transmission making its way from Paul-Lincke-Ufer at the turn of the millennium to a new, completely changed world all these years later. The patina of crackle lends a mist-on-bare skin feeling akin to summer garden parties at Berghain in the stepping "First Plate 1", and gives a foggier sort of depth perception to the hydraulic, Maurizian heft of "First Plate 2", but it's the submerged euphoria of "First Plate 3" that hits the hardest; a heady, bittersweet reminder of days gone by. The other four tracks are crisply transferred from master tapes, relinquishing a sublime, impossible to categorize house variant that recalls everything from DJ Sprinkles to Ron Trent, yet with that weird, timeless production tick that by now has become something of a signature for this most distinctive and hard to categorize producer. Buoyant dub house and techno with lush, gaseous synths and keys. Remastered by Matt Colton from original tapes and worn actetates -- grit included; Limited copies.

Kompakt is proud to announce, finally, a reissue of the first, self-titled GAS album. Originally released on electronica imprint Mille Plateaux back in 1996, it’s been unavailable in its original form ever since – the version of GAS included in 2008’s Nah Und Fern box featured several different tracks. Here, however, GAS is restored in all its glory, the debut full-length from Wolfgang Voigt’s most enigmatic, quixotic project. There had, of course, been signs of what was to come. Back in 1995, Voigt essayed the first GAS release, a slender, yet remarkable four-track EP, Modern. Its centre label featured a reduced symbol – an overhead or lamp light, switched on, its glow radiating outwards in four bold black lines – a perfect representation of the tight, stylised ambient electronic pop contained on that 12”. A few curious compilation tracks were floating around, too, for Mille Plateaux’s Modulation & Transformation and Electric Ladyland series. If you were attentive enough, you could tell something was up. But nothing quite prepared us for the languorous, effervescing loops and regular-like-clockwork beats that Voigt folded together on GAS. Its six long tracks, all untitled, neither begin nor end but hazily fade into earshot, vibrate majestically in your cochlea for fifteen-or-so minutes – some a bit shorter, some longer – and then meander away, reading the mise-en-scène for the next example of Voigt’s drift and dream logic to unfold. The material is referential in the most distant way, and you can sense only the most evanescent of ghostly presences, haunting these six compositions. GAS feels, also, like a more pliable hint at what’s to come, as the GAS concept really solidified on its successor, 1997’s Zauberberg, and reach its apotheosis on Königsforst and Pop. Those three albums share a very similar palette – blurred, hazy samples, often of classical music, stacked and cross-thatched across a muted 4/4 thud. GAS, then, is an outlier of sorts: it’s more expansive in its remit, lighter in its mood, perhaps more fleet of foot. This, of course, is part of its charm. In clearing space for Voigt, by preparing the terrain, GAS sits both at the edge of the forest, and at the verge of an expansive, wide-eyed future; one where GAS would become truly eternal.

Rausch with no name / My beautiful shine / You are the sun / This is where I want to be /
Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames /
Horns and fanfares / Fanfares of joy / Fanfares of fear /
The wine we drink through the eyes / The moon pours down at night in waves /
Careful with that axe Eugene / Personal Jesus / No beginning no end /
Eighteenth of Oktember / The night falls / The king comes / The hunt starts /
Freude schöner Götterfunken / The long march through the underwood / Trust me there’s nothing /
Once upon a time there was a bandit / Who loved a prince / That was long ago /
Spring Summer Fall and Gas / There is a train heading to Nowhere /
Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut /
The bells toll / You are not alone / The murmur in the forest / The murmur in the head /
Light as mist / Heavy as lead / Music happens / To flow like gas /
A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats /
World heritage Rausch / Finally infinite