MUSIC

On his second album MUTANT, Moroccan producer Guedra Guedra sculpts irresistible rhythms and sounds from his analogue synths and drum machines, blending them with percussive fragments, field recordings from Morocco, Tanzania, Guinea and more, gathered while travelling across the vast landmass.

MUTANT explores themes of identity, Pan-Africanism, Afrofuturism, and decolonization, bridging the musical heritage of the continent with elements of techno, bass music and dub. “I created something energetic, where I could find my freedom to compose,” Abdellah says. “I wanted to have a cultural sound that explored innovation with African and diasporic music alongside the vibes of rhythm and the vibes of bass.” The songs on

MUTANT celebrate the wealth of African polyrhythmic forms and also challenge how this richness has long been marginalized by technological tools and systems of thought shaped by Western logic and models of standardization.

At the latest with the release of the albums "Zauberberg" and "Königsforst", in the mid-1990s, one associates GAS, Wolfgang Voigt's very own artistic cross-linking of the spirit of Romanticism and the forest as an artistic fantasy projection surface, with intoxicatingly blurred boundaries of post-ambient infatuation and the impenetrable thicket of abstract atonality. The distant, iconic straight bass drum marching through highly condensed, abstract sounds taken from classical music by the sampler or modulated accordingly, and the enraptured gaze through pop art glasses into the hypnotic thicket of an imaginary forest, manifested over the years this unique connection of audio and visual, which to understand fully, then as now, would be neither possible nor desirable.

Quite the opposite. The album GAS - DER LANGE MARSCH once again invites us to follow the deep sounding bass drum, to give in to its irresistible pull into a psychedelic world of 1000 promises. In the process, the journey leads us past stations of memories sounding from afar, from "Zauberberg" to "Königsforst" and "Pop", from "Oktember" to "Narkopop" and "Rausch", back and forth, now and forever.

Way. Destination. Loop. Forest loop.

Black Truffle is thrilled to begin 2025 with a rare solo release from Konrad Sprenger, alias of elusive Berlin composer-producer-instrument builder Jörg Hiller. A prolific collaborator, Sprenger has worked extensively with icons of American minimalism such as Ellen Fullman (with whom her recorded the gloriously eccentric song album Ort) and Arnold Dreyblatt (as a core member of the Orchestra of Excited Strings since 2009), as well as releasing their music on his impeccably curated label, Choose. As an instrument builder and installation artist, he has overseen the creation of a computer-controlled multi-channel electric guitar and, with Phillip Sollmann, a modular pipe organ system designed to be reconfigured from space to space. In much of Hiller’s work, a scientific approach to acoustic phenomena co-exists with a pop sensibility and a sly sense of humour. Nowhere is this unique combination more in evidence than in his slim body of solo work, beginning with the startling diversity of instrumentation and compositional approaches heard on the short pieces of Miniaturen (2006) and Versprochen (2009), followed by the more single-minded exploration of the computer-controlled electric guitar on Stack Music (2017). Set brings together these various strands of Sprenger’s work into a wildly infectious, playful epic, performed by the composer and the mysterious Ensemble Risonanze Moderne. On the LP’s second side, we are also treated to a guest appearance from longtime collaborator Oren Ambarchi, on whose recent solo releases Simian Angel and Shebang Sprenger has made key production contributions. Ambarchi’s signature stuttering, swirling harmonics weave through a sparkling assemblage of electric guitars, acoustic instruments, percussion and electronics—though, given the deft use that much of Sprenger’s recent production work makes of midi-controlled sampled instrumentation, it’s anyone’s guess where the acoustic ends and the digital begins here. As soon as the needle drops on the first side, we are inside a musical world that Set will inhabit for its 33 minutes: sparkling guitar harmonics and palm-muted notes, tuned percussion, crisp electronic drum hits, flashes of horns, and untraceable bursts of synthetic sound are arranged into a skittering polyrhythmic framework calling up the detail-rich percussive constructions of contemporary techno filtered through the pointillism of the post-serialist European avant-garde. Behind this shifting mist of particulate sound, winds and strings sound out held chords, reminiscent of Arthur Russell’s Tower of Meaning in their epic yet seemingly aimless drift. The relationship between elements is mysterious, appearing both carefully considered and almost random. Though never straying too far from where it begins, as the piece moves along, it spotlights increasingly bizarre instrument choices (shakuhachi and steel drums, anyone?) as well as momentary liftoffs into motorik propulsion. Set is a fascinating, mercurial thing: at once propulsive and fragmented, essentially static in form yet ever-changing in detail, unabashedly egghead in its construction yet sure to get the feet tapping.

Kohei Matsunaga aka NHKyx arrives on the Kasm wing of legendary Manchester label Skam with four cuts. Opening with the vibrant, joyous, intricate breakbeat techno of 'Filled With Vacuum' and a darker vision in the squirming 'Ancient Behave' on the A-side. Over on the flip, we get the melodic, squidgy 'Same Point Different Coordinate' propelled by flickering percussion, before the bubbling 'Formulated Rhythm 4s' rave signal from 20,00 leagues under the acid sea closed the EP in fine style.

“It’s just too easy to make a standard dance track,” Aphex Twin said of his mindset back in 1992. “You’ve got to put a bit of thought into it to get something a bit different.” ‘Digeridoo’ was released on the Belgian R&S Records label in 1992, and originally peaked at #55 in the UK singles chart in May of that year. Over the last 32 years the track has become one of the essential Aphex Twin tracks in a gargantuan catalogue that continues to amaze and inspire. “I wanted to have some tracks to play to finish the raves I used to play in Cornwall, to really kill everybody off so they couldn’t dance,” Richard D James, AKA Aphex, told Select magazine back in the 90s. “Digeridoo came out of that.” Released as a 4 track EP that also included early Aphex productions (now classics) including the industrial, acidic clang of ‘Flap Head’ and hyperbolic futurism of ‘Isopropanol’, the release cemented a relationship with the R&S label that went on to release the ‘Xylem Tube’ EP and the pivotal album ‘Selected Ambient Works 85-92’ in the same year. The label’s owner & A&R Renaat Vandepapeliere reflected “When I first heard Aphex Twin’s music I said, ‘This is it!’, and everybody else said, ‘You’re crazy!’ …a lot of the hardcore R&S fans dropped us. To them it wasn’t music.” ‘Digeridoo’ (Expanded Edition) is the first time the EP has been re-issued with extra material. Whilst digging in his DAT archive (allegedly stored in an airtight military ammo box), Richard James revisited the recordings, encoding them through a Nakamichi CR7e cassette deck, using the customised deck with vari-speed to encode at speeds “felt right at the time”. Alongside these CR7e versions, the original mixes have been remastered by Beau Thomas at Ten Eight Seven Mastering, offering a dilated insight into one of electronic music’s most endearing releases.

SIGNEND EP is bassist Keisuke Taniguchi's first solo release under the pseudonym TURLCARLY. This EP took us almost a year of lots of discussion, ideas, and drinking to release. The majority of tracks on the EP were composed using a computer, but his contrabass playing is featured on the track titled Sontrium. There exists lots of music that combines elements from various disparate genre. But I believe this EP, with its juxtaposition of danceable vibe and experimental atmosphere, has a completely unique and original sound that will give listeners new feelings and inspirations.

Guangzhou-based producer and DJ COLA REN released her debut LP, 'Hailu' in June 2023, a fulsome ambient, balearic, and downtempo brew with a gorgeous sense of melody and spirituality that offers a soothing escape. To celebrate the release, we have invited 8 talented musicians to the enchanting realm of ‘Hailu'. This remix compilation serves as a metaphorical exploration akin to the "Chakras," symbolizing the diverse energy centers within the human body. Through the collective reinterpretation of Hailu's original composition by 8 musicians, each imbuing it with unique hues and symbols, the remix reflects varied spiritual essences and elemental qualities.

This is a work synonymous with the Aphex Twin, featuring one of the most popular songs of their career, "Girl/Boy Song".

Cortex of Light, a notable Italian trio that includes the leftfield techno genius Piezo and the experimental ambient genius xàr num, has released their debut album from 3XL, the label headed by special guest DJ uon! A futuristic therapy sound where environmental sounds and electronic sounds intertwine. Drone sounds, deconstructed rhythms, and grids of drowsy reverberation are sewn together, and the sound seems to trace the membrane of the city. It is the afterimage of a club, the architecture of a sleepless night, and an optical abstract sound image. While resonating with mysterious labels such as bblissss, West Mineral, and Motion Ward, the unconscious underflow that is characteristic of 3XL runs throughout the entire album, making this a prayer for modern sounds.

Al Wootton samples a museum-worthy haul of vintage drum machines on this sick Library Record for his Trule label - big one for anyone into his work in Holy Tongue, or curios from Tolerance, Freedom To Spend, R.N.A. Organism. Tip!

Wootton was invited to Melbourne's Electronic Sound Studio where he got to work sampling their collection of rare vintage drum machines. And it's those boxes that laid the groundwork to 'Rhythm Archives', the prolific producer's most satisfying full-length to date. Wootton's been at this long enough to realise that restraint is the key, and playing with Holy Tongue has no doubt sharpened his skills. There's not much going on here, but that's what makes it so enticing - Wootton lets the machines set the pace for each track, and adds only the sparsest additional instrumentation for colour. On 'March', the plasticky beatbox pattern is fascinating because it's so weedy compared to the sounds of more modern machines - the kicks are like fingers on wet cardboard, and Wootton shadows them with bone-rattling rim shots, filling in the silence with cinematic piano twangs, white noise and a snake-charming flute.

In the wrong hands, this material would creep towards cringe - there's more than enough artists making canned library music or hauntological slop. But Wootton vaults over the pitfalls, staying on the right side of kitsch. The dissociated voices on 'Slow Rock' that shiver next to his new wave-patented Roland CR-78 take us to the seedy world of 'Liquid Sky', not the postmodern sampledelia that followed, and the footwork-inspired 150bpm whirr of 'Shuffle' is sneakily anachronistic, only echoing the Chicago genre's polyrhythmic patterns, not repeating them to the letter. Wootton does a good job staying away from very obvious genre signifiers; there's the character of each machine that's present, of course, but he sounds like he's trying to subvert the application, wondering how these decaying rhythms might react to his various processes.

If there's any real reverence here, it's for dub, and the genre's influence on everything that followed: post-punk, bleep techno, industrial music, whatever - Wootton sounds right at home threading tape echo trails thru his stuttering cycles. It's a love letter to the drum machine, and it doesn't lag for a moment.

ZamZam 95 is a link with the enigmatic French producer Hiss Is Bliss. We’ve been fans since the very first drop on their 777Hz label and these two sides drive straight to the heart of the dub techno galaxy. Little is known about Hiss Is Bliss beyond the fact that they hail from France, are steeped in esotericism, and create tunes as masterfully grounded in roots reggae as they are in techno and related strands of electronic music. Their releases are utterly free of hype, beautifully crafted 10” vinyl plates that let the singers and tracks speak for themselves. At the risk of being cheeky, “Nope” is absolute dub techno bliss. The 808 kick propels the track relentlessly forward, saturated washes of color streak the night sky, while syncopated hi hats and warm, soulful chords bring life- dare we say funk- to a style too often stiff and clinical, too in thrall to the past to truly step forward. Matching Hiss is Bliss in mystery, Ras Lys’ vocal brings a Dread perspective on music and the sometimes shady business of music, a grounded contrast to the deep inner space explored by the tune itself. The B-side version “Abbadia” splits musical atoms through the desk, focusing squarely on the stripped 4/4 elements and gloriously distorted pads that echo and cycle like tides in a darkly shimmering sea.

On his latest full-length, Low End Activist swerves towards weightless grime and suspended hardcore miniatures to tell a very personal story. The UK-rooted producer continues his habit of zeroing in on a distinct approach for each release, leaving a logical breadcrumb trail of soundsystem science in his wake as he channels decades of bass absorption into 14 atmospheric cuts that prize patience and precision over obvious club functionality. Municipal Dreams plays out as a semi-autobiographical tour through the Blackbird Leys estate that the Activist grew up on. It’s a lived reflection on inequality and the ripple effect it has in working class communities, using the sonic palette to set the mood and scattering pointed samples throughout to spell out the story. In sampling the exhaust of a stolen Subaru Impreza, ‘TWOC’ looks back to the recreational car theft which was standard entertainment for the kids in his community. There’s an underlying idea that this ‘council estate sport’ wouldn’t have been so prevalent if there were public services and opportunities presented to the scores of disaffected youth looking for somewhere to direct their energy and frustration. In ‘Just A Number (Institutionalised)’ LEA alludes to the shattered juvenile detention system, growing up seeing friends and family members locked up at ease with little to no support on being released back into society, just meant that the same cycles of behaviour would play out over and over.

‘Violence’ samples from a short film shot by the drama division of the Blackbird Leys Youth Club to evoke the physical threat which formed a background hum to life on the estate. The industrial mechanics of the local car factory, which served an integral role as a workplace for many in the community, gets sampled in ‘They Only Come Out At Night’ while the ‘Everyone I look up to are either junkies or criminals’ sample in ‘Broke’ looks to a lack of positive role models. Municipal Dreams isn’t a one-note indictment of life on the estate, ‘Innocence’ captures the simplicity of a child at birth before their environment has time to shape them. The Hope interludes cut through the grim honesty of the longer tracks while a subtle thread of wry humour finds its way into some of the talking heads cutting through the signature LEA murk. But honesty is the operative word here, and the message feels all the more meaningful at a time when the UK’s social divisions are laid bare in the wake of a devastating stretch of austerity. Returning to Blackbird Leys to shoot images for the photo-zine and album cover, the Activist found the local community centre being demolished. The local pub stands derelict, its faded Welcome sign a grimly ironic portent of the options facing children of the estate in the wider world. Funnelling his memories, hopes and fears into a singular twist on the bass weight tradition, LEA captures evocative scenes that land somewhere between kitchen sink realism and rave futurism.

Jim Coles’s fifth instalment of his best-selling ‘Acid Dub Studies’ series arrives in the form of the third set of original works exploring the infectious sound of the 303 bass-line in a dubwise setting. The album takes in traditional dub mixing approaches in a digital and roots/digi-dub style whilst also making space for more electronic and ambient processes to close the project.

‘Acid Dub Studies III’ arrives after 2 years of touring the material in a live setting at festivals and clubs including CTM at Berghain, Les Nuits Sonores, and Andrew Weatherall's Convenanza festival and is the culmination of some 5 years of experimenting with a style that has been met with critical acclaim, reaching far and wide into many a DJ’s box having been noted by some as a truly ground-breaking approach to working with the 303.

Primitive Maxi Trial is a time-warped excavation from the archives of Emiliano Pennisi, the Palermo-based producer and underground fixture behind the Paradigma collective (DerFreitag, Algoritmo). Surfacing on the Heat Crimes imprint, this archival transmission feels less like a retrospective and more like a haunted artifact – a fragment of the pre-digital underground rendered in dusty, lo-fi hues.

Drawn from material produced between the late ’90s and mid-2000s, Primitive Maxi Trial occupies a blurred zone where early DAW fetishism meets pirate aesthetics and a scavenger’s ear for pop-cultural residue. Think cracked VSTs (Albino, SubBoomBass), MPC 1000 grit, and CD-ROM sample libraries ripped from Future Music and Computer Music cover discs—long-lost sonic ephemera unearthed like forgotten VHS tapes in the backroom of a failing electronics shop.

There’s an unmistakable hauntological hue here—not in the usual Ghost Box pastiche sense, but something rawer, more regionally specific. These tracks were forged under the looming shadow of the Mafia Maxi Trial, in a city fraught with paranoia, informal spaces, and cultural fragmentation. That tension bleeds into the music: compressed textures, iron-lung atmospheres, and bleakly humorous juxtapositions that wouldn’t feel out of place soundtracking a Mark Leckey installation.

But this isn’t mere nostalgia. Pennisi’s compositions slip between IDM’s jittery melancholy, no-fi techno, ambient detritus, and grotesque rave misfires with an almost outsider art sensibility. Surreal cuts appear like tape-warped memories of nights out you’re not sure really happened. In the best moments, Primitive Maxi Trial feels like music made not for release but for ritual—claustrophobic yet oddly liberating, deeply personal yet disarmingly tongue-in-cheek.

We are delighted to be able to bring you these gorgeous field recordings from the Sumedang Province of West Java which, over their 50 minutes, present two distinct sides of Sundanese musical and devotional culture.

Although West Java is a Muslim country, these recordings highlight currents of pre-Islamic animist beliefs and practices that continue to flourish in the small towns and villages of the highlands of West Java. The recordings showcase two forms of trance music that are essential to the spiritual life of the Sundanese people in the highland regions.

Tarawangsa trance music is a traditional ceremonial genre known for its deep spiritual and hypnotic qualities. This music is made using only two instruments, the tarawangsa, a two-stringed fiddle, accompanied by the jentreng, a seven-stringed zither, creating a unique blend of resonant, droning sounds. Historically, tarawangsa music has been performed as part of sacred rituals and agricultural celebrations to honor local deities and ancestors, particularly associated with the Sunda culture. The minimalist, repetitive melodies gradually build, guiding participants and listeners into a meditative, trance-like state, during which dancers can be possessed by the spirits of ancestors or deities from the spirit realm, the music serving as a link between the two worlds.

In stark contrast to the calm, medititive sound of tarawangsa, we also present here two long pieces from Panca Buana Reak Group. Sundanese Reak trance music is like the punk rock of Sunda folk music, combining powerful and driving rhythms played on a number of hand drums and percussion instruments with the buzzing sound of the tarompet, a double reed wind instrument often amplified through whatever mobile speaker system might be at hand. Sometimes the group will play gamelan gongs, as heard on the first piece on the album, although this remains a music that is popular mainly with the working class youth of the rural villages, many of whom will also be fans of Indonesia's burgeoning metal and punk scenes. Reak performances are often wild, anarchic events that feature masked dancers, costumes, public trancing and spirit possession.

These recordings were made by Xenia At during her travels through West Java earlier this year. The tarawangsa recordings were made in a home in the village of Rancakalong on the evening of 17th January 2024, while Panca Buana Reak Group were recorded during rehersals in the village of Cinunuk on 19th and 20th January 2024.
<iframe style="border: 0; width: 350px; height: 307px;" src="https://bandcamp.com/EmbeddedPlayer/album=3330427737/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://hivemindrecords.bandcamp.com/album/in-the-heart-of-sumedang-field-recordings-from-west-java">In the Heart of Sumedang: Field Recordings from West Java by Hive Mind Records</a></iframe>

Geniuses at work. Composers and multi-instrumentalists Valentina Magaletti Susumu Zongamin Mukai shielding the rain with giant sonic umbrella made of radio waves. Impromptu recordings, proto postpunk from the mist of East London basements for a trip to Maryland that is yet to happen. "It's Cold in Baltimore" is an invitation from V/Z to dream of flying without taking off, elevating the spirit until the clouds start screaming of joy.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1995 as M-Series by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

Tokyo-based artist Will Long, widely known for his ambient works under Celer and the Meditations best-seller Long Trax, returns with the third installment of the Acid Trax EP series. Featuring a remix cut from the 2024 album Acid Trax, this release also includes a new co-produced track with iconic deep house figure DJ Sprinkles a.k.a. Terre Thaemlitz. The A-side delivers a sharp and emotionally nuanced production built on the relentless interplay of 909s and 303s, while the B-side shines with Sprinkles’ signature spatial sensitivity and mellow atmospheres. This is intelligent, immersive dance music that subtly reimagines the acid house format from within—a quiet document of aesthetic clarity, perfectly suited for the after-hours floor. Mastered and cut by Rashad Becker.

Tokyo-based artist Will Long—well known for his acclaimed ambient works under the name Celer and his best-selling Long Trax series on Meditations—returns with a remix cut EP from his 2024 album Acid Trax, featuring none other than DJ Sprinkles a.k.a. Terre Thaemlitz, the iconic figure of artistic deep house explorations. Side A delivers a hypnotic, minimalist acid track running over 11 minutes, evoking the spirit of Phuture and early Plastikman, with razor-sharp 909 rhythms and acid-laced 303 lines. On the flip, DJ Sprinkles brings their unmistakable touch to the remix, sculpting a deeply immersive experience with intelligent arrangement and emotional depth—deep house at its most refined. A sublime slice of after-hours introspection and floor-ready elegance.

The incessant brain bogglers zig-zag back to Diagonal with the nerve-gnawing acid pointillism of Right Frankfurt after a series of purple-themed 12”s with iDEAL and Hypermedium and the zinging Do These sessions with F.C.O.U. and Presto!?

Equivalent to an intravenous dose of acidic synthesis, Right Frankfurt nods to one of techno’s most efficient power centres with a PCP-on-Modafinil-strength reduction and concentration of early industrial techno tropes shorn of their skull-cracking beats and left to babble in an utterly alien coda.

It does so for 25 unrelenting minutes, which, if you asked my mum, all sounds the same. But, if you’ve ever appreciated the lissom fluidity of a strong acid or synth lead in the dance, you will notice and no doubt relish the piece’s tumultuous, microtonal variation, see-sawing up/down and around the frequency scale in highly visual knots that are perhaps best experienced in synch with the strobes of their live show.

We recently witnessed EVOL scare the bejesus into Berghain with this stuff, to the extent that there’s now a small cargo cult like gathering on the wastelands next door to the club who can do nowt but worship a discarded acid smiley keyring and speak in 303 tongues whilst cowering at the sight of Easyjets overhead.

God save the ravers.

日本の伝説的衛星放送〈St.Giga〉から名前を取った先鋭レーベル〈CITY-2 ST. GIGA〉を主宰。〈The Trilogy Tapes〉や〈Incienso〉にも作品を残す、東京の要注目プロデューサー、DJ Trysteroによるセカンド・アルバムが〈FELT〉からリリース。ダブ・テクノの深淵を漂う全9曲を展開していく本作では、リズムは曖昧に、メロディは断片的に、音響は霧の中で揺らめき、聴く者を夢と現の狭間へと誘います。濃霧が晴れ、しおれたダブの形が浮かび上がる瞬間が印象的な"Untitled 6"など素晴らしいです。Huerco S.やCivilistjävel!を想起させる、減衰と残響の美学が光る一枚！

OK this is a full madness; visually impaired pensioners Anne Goss (75), Kathleen Allott (74) and Mick Gladwin (65) aka Rotherham Sight & Sound play the music of persistent prism disruptor Rian Treanor with a knockout set of mutant dancehall and mercurial electro-styled zingers, a huge tip if you’re into Autechre, SND, Kakuhan, Iueke, Shubharun Sengupta. Rian Treanor keeps knocking new doors of possibility with his new label Electronic Music Club and its initial focus on Rotherham Sight & Sound, participants of a community-based initiative in their shared post-industrial home town Rotherham. Utilising software synths designed by Rian and his dad Mark Fell, the trio twist out vortices of shearing, asymmetric anarchitecture, rudely resembling the sort of hyper-contemporary styles alluded to in Rian’s solo works, but inflected with cranky timing and an intuitive freedom that bears extraordinary results, especially when considering the fact the trio had no prior musical ability, and only encountered electronic music a few years ago. After a couple of years of practice and performance, ‘Action Potential’ now firms up their quicksilver sound for club and home buzzes with seven actions that warp and morph from the needling jolts and hoof of ‘Pass The Go’, to shuddering detonations in ‘Dial’, each with a properly electrifying force carrying a genuine futureshock. Working within Rian’s systems-based framework, Anne, Kathleen, and Mick deploy a tactile feel for the machines, finely honed over the course of many sessions at the Rotherham Sight & Sound facility, that uses their visual impairments to synaesthetic advantage. Between the wickedly metallic ragga swivel of ‘Hold’, the diffractive chain reactions of ‘When It Ends’, and more tempered, sloshing sensuality of ‘30 Seconds’, the trio follow their noses down wormholes that manifest an ideal of accessibility and expressionism within electronic music contexts that Rian and Mark have long worked towards, with Anne, Kathleen and Mick’s relative lack of cultural conditioning in this paradigm prompting them to act on pure instinct. Seriously, this has to be one of the most unexpectedly brilliant and boundary shattering sides of the year, not to be missed by any self-respecting follower of the future or hyper present.

Rezzett offer up a little something for afters on their new self-released EP

‘Dimension Intrusion’ was the first full-length studio album by Richie Hawtin, who was 22 years old at the time and living in Windsor, Canada. It was first released in June 1993 under the F.U.S.E. name on Hawtin’s own Plus 8 Records imprint and again as the second release of Warp Records seminal ‘Artificial Intelligence’ series. 

The album compiled previously released F.U.S.E. EPs from Plus 8 complemented with new music specially recorded for this release. It would be a fundamental album for the young producer, who was experimenting with different themes and techniques to find his very own sound. Largely inspired by sci-fi movies he used a collection of synthesizers and drum machines, playing with their electronic yet warm sound effects and in turn discovering some of his favorite instruments. 

The tracks on ‘Dimension Intrusion’ range from club focused techno to soundtrack ambience and can be seen retrospectively as experiments leading to what would soon become Hawtin’s trademark acid laced Plastikman sound. 

It was on this album that he first collaborated with his brother, Matthew Hawtin, presenting an original painting completed in 1992 as the album artwork. In fact the album title was derived from this painting’s title ‘Dimension Intrusion’, demonstrating the reciprocal inspiration shared between the brothers. The acrylic painting oscillates between the one and two-dimensional. The composition of geometrical beams in bold primary colors and sharp lines evokes electrically charged movement and progression in and out of different dimensions. The visual tension corresponds with the energetic rhythms of the music, furthermore, the abstract painting and techno music share machine-like precision whilst producing a sensual and emotionally triggering experience. 

Dimension Intrusion’ is an iconic album in the history of electronic music that sets Richie Hawtin on a path of exploration and interest in the connection of audio and visual expression.