Techno / House

Legendary Midwest electronic producer, the sadly departed LeRon Carson's late 80's productions are gathered on Sound Signature with this impressive overview of his work. ‘Under The Conditions’ is vintage, raw Chicago house music in the vein of his previous releases on Theo Parrish's esteemed label. Fans of Virgo Four's lush deep house trax should definitely check this out.

Burnt Friedman frames his latest album in the vein of the nonsuch explorer series, with a musical look at Central Europe, specifically Berlin, and its intersection of artists, dancers, musicians still moving to 30 year old techno and house while constantly investigating and discarding novel new forms...

“Burnt Friedman with Explorer Series Vol. 4, original ethnic music of the peoples of the world/full spectrum stereo dominance. With such a complicated amalgam of races, religions, and language as there is in central Europe, it is not surprising, that the musical life is endless in variety. Before the upheavals engendered by immigration policies, the introduction of 5 G technology, and the gaining of maximum self-expression, the separation of cultures must have been even more noticeable, yet now in the sphere of music one can see them drawing more closely together.

This is especially true of an under-populated melting pot such as Berlin, where the sense of beauty is innate and one hardly meets a white male or a woman not being a painter or a dancer, or a musician. The system of scales, and also the fact that the western central Europeans rely on recorded or written script in order to conserve the themes of their music, could lead us to look upon it as a form of art music. Remarkably enough, traditional house or techno which existed 30 years ago, still flourishes today. Moreover, all the time new forms and musical styles are being discovered, tried out and eventually overlooked. The present record can offer but a modest sampling of extinct splendors, political or individual sufferings, gloomy sadness, love, resentment, exquisite delicacy, laughter and delectable wisdom of rural and urban central European music. Burnt Friedman's essential function is to perform music that ensures the repose of the dead and render their ghosts harmless; in the case of whole communities, to dispel evil spirits and restore to Berlin its pristine purity; and in the case of individuals, to expel the demands of possession.

Despite the limited scope of sound carriers, these ten highlights of central European culture contain an emotional force and documentary value of inestimable importance. Although it would be incorrect to consider the various selections contained herein as authentic ethnological documents insofar as the performances were for the most part "mystified", on the other hand one can certainly consider them significant examples of the attempts of white males to develop their own modes of expression and communication.”

The latest single from Pretty Sneaky, rumored to be an alias of SHED, who is also known for his work on Ostgut Ton and Delsin, features four tracks of superb ambient/dub with a 90s electronica/IDM aesthetic. No digital, analog only.

Returning with his first album in 13 years, Errorsmith’s ‘Superlative Fatigue’ long-awaited release on PAN arrives as his perhaps most optimistic record yet.

Placing a strong emphasis on spectral exploration, the tracks tell an inherent story and span a musical arc with his recognisable synthesised tones, computerised vocal effects and timbral changes in motion.

In comparison to his previous productions, Errorsmith (Erik Wiegand) sees the release as less abstract, harsh or aggressive: “I would say it is rather accessible and cheerful; at times ridiculously cheerful but still very sincere and emotional.” He suggests. “I find it touching when this little android raises its pitch at the end of ‘Lightspeed’ or the android catching its breath in ‘My Party’ for instance.”

The album title, ‘Superlative Fatigue’ reflects this tension between an over-the-top, hysterical emotion, against more deeply felt expressions or realness.

Besides collaborating with the likes of Mark Fell, to Berghain resident Fiedel as MMM, and Soundstream as Smith N Hack, Wiegand has released a string of seminal dancefloor tracks. Building his own instruments using modular software synthesizers is a large part of his work. Where almost all the sounds in the LP were created with his synth, ‘Razor’, (a synthesizer plug-in he developed for Native instruments, released in 2011) or slightly modified versions of it.

Premiered at Unsound Festival last year, this new material he has developed since has finally taken form in this epic full-length.

The album is mastered by Rashad Becker, featuring artwork by James Hoff and layout by Bill Kouligas. 

Heavy 180g black vinyl + free digital (Bandcamp exclusive) Expanded Edition w/ 4 bonus tracks, japanese obi, a 72 photography collage of the many people who inspired this music and liner notes by composer Neil Ollivierra aka The Detroit Escalator Company. Sirio Ultra Black debossed sleeve 400gsm Half Speed Mastering Sublime and perfectly produced cutting-edge ambient techno masterpiece made in 1996 by unsung Detroit hero Neil Ollivierra, an album as underrated as it is essential. 25 years after its original release on UK label Ferox Records, Soundtrack [313] still provides a deeply futuristic aesthetic experience, warm and emotional electronics, along with glistening melody lines that create a peaceful, relaxed environment. This album possesses a formidable aptitude to always instill its listeners with a life-affirming feeling of serenity. A true timeless and unique classic that exists within its own genre and which still pushes the envelope of electronic music that transcends the club experience. This expanded release includes 4 bonus tracks (6 tracks on CD / digital), a liner note by the artist, and valuable photographic footage from his personal archives. This reissue has been mastered from original files by Sidney Claire Meyer at Emil Berliner (former Deutsche Grammophon studios in Berlin), using the half speed mastering process, and pressed on heavy vinyl at 45rpm. 25th anniversary audiophile edition. For fans of Detroit Techno, Global Communications, Black Dog, Manuel Goettsching, Tangerine Dream, Susumu Yokota, und Klaus Schulze.

This is a tribal experimental sound where the horizons of another world appear, whether it is a fantasy or a cutting edge? Marco Shuttle's third album, Cobalt Desert Oasis, features a varied collection of music recorded across a two year period. Often traveling to remote destinations, Marco would come back to Berlin with field recordings, images, and other inspirations to process in his studio and turn into sound. The theme of the journey turns into a something more abstract than a travel diary, where environmental sounds blend in with modular synthesis, drum machines, effects and analog oscillators resulting in a cinematic listening experience where psychedelia, ritualism, and mysticism weave together in a sort of alien soundscape - that as the title of the album suggests, is reminiscent of a parallel utopian world. The album is rich in complex rhythmics, and more than in any of his previous work, has strong acoustic elements. Amongst other percussion instruments, Marco used the Tombak, a traditional Persian hand drum capable of reaching a very wide range of frequencies - from deep round subby toms, to high pitched sharp rimshots, throughout the record. Marco Shuttle is certainly not new to these sort of elements, but in Cobalt Desert Oasis he brings the environmental element of his sound into the forefront in a way that takes the listener into a hazy expanse where it is sometimes difficult to distinguish the machine elements from the natural - and where the music almost becomes a visual experience, which relates to Marco's own photography used throughout the cover and insert images.

Delroy's in love. With House. Absolutely essential again.

Limited edition CD, self-released and independent. Comes in a reverse board, 6 panel package including all 6 drawings.

Includes the tracks Turquoise, Black, Stone, Gold, Silver, and Pearl.

Limited edition CD, self-released and independent. Comes in a reverse board, 6 panel package including all 6 drawings.

Includes the tracks Chartreuse, Rose, Lavender, Lime, Grey, and Violet.

Rhythm fiends, your time! Lisbon’s DJ Nigga Fox swangs it wide, precise and deadly on his first new tunes since 2019’s outstanding ‘Cartas Na Magna’ LP and a killer live tape in ’21 Deploying four immediately upfront, naturally experimental workouts, ‘Música Da Terra’ marks just over 10 years since DJ Nigga Fox came to our attention on the ‘African Digital Dance’ compilation, and solidly affirms his role as the leader of Lisbon’s new school. Balancing a cosmic jazzy depth akin to Jamal Moss or Ron Trent’s deep house with more urgent, syncopated ghetto grooves, his music is the pinnacle of contemporary Kuduro, if you ask us. The lad’s catalogue practically charts the sound’s development from grimy and hardcore to more sensual, textured and rhythmelodically psychedelic in a way that places him like Kuduro’s answer to Dego or A Guy Called Gerald, and especially on this EP. Including an instant standout jam with fellow Príncipe don DJ Firmeza in the muscular bass churn, bolshy brass and groggy pads of ‘Sanzaleiro’, Nigga Fox absolutely bosses it on his three solo works. There’s the adrenalizing scorcher ‘Madeso’ at the front, with its shards of marching horns sliced up into swingeing heads-down swagger, but also laid with a mental breakdown, while ‘Gás Natural’ cools off for a hot minute with its exquisite, chill breeze melody and in-the-pocket log drums leading somewhere deliciously darker, and ‘Sasuke’ simply slays with jaw-dropping twist of cosmic acid broken beat soul, lathering hazy organs, 303 and nimblest drums into the tightest, inimitable step. Oh my days this is fucking strong. TIP!

DJ Python’s Worldwide Unlimited net Lisbon legend Blastah for a bag of sensuous, playfully animated dembow, drill and kuduro mutations that sit ever so sweetly beside the label’s gems from Sangre Nueva and Henzo. Blastah blesses his debut firmware with a dreamily memorable set of six concise, lowkey burners that hover around reggaeton’s 100-110BPM brackets. Over the years he’s developed an online penpal relationship with Brian Piñero aka DJ Python, naturally leading to this shared conception of romantic club music with a mutable bent that lends itself just as easily to end-of-night slow jam sections as low lit bedrooms. The vibe is perfectly sensuous and set in woozy soft focus, from the Elysia Crampton-esque, dusky fusion of R&B pads and soundsystem stabs on ‘Raining’ to the neck-caressing nod to Timbaland and Timberlake in its ‘Closer’. A heartical deep house dembow sound is echoed on ‘Cendres’, and a prime fusion of US drill softened with subtropical appeal shapes ‘Unknown’ and the slinky, subbass-gilded minimalism of ‘Call’, while ‘Fish Friends’ most clearly betrays his taste for late night Lisbon tarraxho. Up-to-the-moment, inch-tight, timeless pearls for the dancehall lovers.

Kalita are excited to unveil the first ever reissue of one of – if not the – strongest South African kwaito/bubblegum albums in existence, Jivaro’s 1989 masterpiece ‘Saturday Fever’. Originally released on Maurice Horwitz’s Music Team label at the turn of the decade, the album features various heavy hitting tracks that perfectly encapsulate the post-boogie/proto-house movement that had taken over the country’s airwaves and clubs at the time. Sourced from the original analogue master tapes, this definitive release by Kalita is a truly essential piece of musical history and one sure to set any discerning dance floor on fire.

Shout Out! To Freedom… encapsulates the endless potential that can come about from stasis. It's a record that as is celebratory of N.O.W.’s past as it is determined to break from it.

Deadbeat and Om Unit combine forces to explore their shared love of dubbed-out electronics. Starting a thread from Montreal to Bristol, this mini LP is rooted in the tradition of dub and techno, but with tinges of roots and acid as well as the etheric ambience they are both known for. Root, Stalk, Leaf and Bloom is contemplative but heartfelt, with a sense of momentum and positive purpose. Hailing from Georgia’s capital Tbilisi, Gacha Bakradze (@gacha) is one of the national scene’s leading electronic music exponents. He returns to Lapsus Records with his new album 'Obscure Languages', his second release for the Barcelona label. Following the superb LP 'Word Color' [Lapsus Records, 2018], which appeared in several ‘album of the year’ lists for publications such as Pitchfork and XLR8R, the prolific producer now presents 'Obscure Languages'. This new piece of work could well be described as a sound continuation from his previous album and maintains a powerful narrative at its core. ‘Obscure Languages' delves into the world of cinematic soundscapes, replete with microscopic details and fragments that showcase a luscious IDM style audio palette, laced with ambient, avant-techno, bass and sound design.

Futoshi Moriyama is an Osaka-based electronic music producer who began his musical career in the early 2000s improvised music hothouse of Osaka’s Shinsekai Bridge, an important venue for the “Kansai zero sedai” (Kansai Zero Generation), which sprang up in the wake of The Boredoms’ world-wide success. Kazuhisa Uchihashi was the axis of this Bridge scene; his workshops allowed a generation the freedom to develop their own voices. Moriyama’s early improvisational work often saw him using cheap samplers to surprising ends, but since then his work has moved in a more composed direction, while still investigating electronic sound. This particular release, which appeared initially in 2015 as a cassette on the Birdfriend label, run by Koshiro Hino (aka YPY), was a year in the making. All of the music was composed with software instruments, spurred by a desire to move beyond his previous work, and can be heard as a home-recorded orchestral music.

The story of each re-release begins with the original. In the late 90s, Uwe Zahn (Arovane), along with Robert Henke (Monolake) and Stefan Betke (Pole), began releasing music on Torsten Pröfrock’s (Dynamo) newly launched DIN label. This was a very inconspicuous undertaking, but fans of the flourishing IDM, glitch, and constantly evolving abstract techno genres quickly picked up on the quality of sound coming out of Germany. After a few successful EPs, Zahn began working on his debut full-length, Atol Scrap. The release was a success, at least in the underground circles, where followers of the melodic harmonies, stuttering off-beat rhythms, and, most importantly, advanced sound design feverishly consumed the imprint’s output. There was only one thing missing – the album was never pressed on vinyl, and for decades remained in the digital domain. The fans, of course, inquired. There were multiple offers on the table, but Zahn retained control until he was assured that it was properly attained. “I thought of taking everything into my own hands and releasing the record myself,” says Zahn, “but at the end of last year, Matthias from Keplar asked me to re-release Atol Scrap on vinyl.” The label and its owner revolve in the Morr Music universe, and so it made sense for Zahn to trust the platform to treat the record right.

Listening to Atol Scrap over twenty years later it is inane not to admit how well it has held up. Where other genres clearly aged, becoming stale, bland, and dull, the music on eleven tasty tracks still keeps the neurons tickled with each note. More than an echo of the past, the bottled sound truly has matured. Many of the newly evolving techniques are recognizable on the album. “I created the digital artifacts with a digital multi-track recorder, the Fostex D80,” recalls Zahn. “The thing had a scrub wheel with which I could achieve wonderful glitch effects by winding through the audio data. I have sampled and further processed these artifacts.” And this approach is still embedded in Zahn’s sound design. “I still use my 24-track analog desk from Tascam to mix my audio. I love to use hardware synths and samplers. I’ve definitely built upon my studio experience in the 90s.” From this debut to the most recent output, Arovane’s sound has evolved to become more intricate, detailed, and pronounced. “My music has become much quieter and much slower. But that’s probably also due to the noise in the world.” And just as Atol Scrap reminds Zahn of the past, retaining charm preserved in a container traveling through time, it also jitters memories of long ago, when we were twenty years younger, less experienced, and bold. For me, among the many records of the time, this album held a special place in life, my heart, and many CD boxes moved across the world. And now I’m only happy to restock the vinyl space, where Atol Scrap belongs among the beloved records. Welcome home. - Mike Lazarev

Try and up that feel-good jam and ride worlds with spinning city’s. Now delete scene. Where’s the fucking high?!

Welcome denizens of disaster, one and all - please make yourselves uncomfortable. Did anyone ever tap you on the shoulder as you were walking through an unfamiliar land, just to tell you to watch where you’re going? In this interlinked age of protocol-onies and networked nations, the only territory you can’t rely on is your own state of mind. Mapped-out by a series of second guesses and double takes, Catastropheland is a diminished reality. In Catastropheland, the road signs are all traps, the charts are the wrong way round, and the jokes fall flat. Meanwhile, nine tracks of virtual shapes are bounced off the dishes of an orbiting Syncom 7 and beamed straight into your personal space. The quest for the augmented self might not lead to the results you expect, but as a citizen of Catastropheland, your residency permit is never up for review, and you’re only a shipwreck away from being washed-up on a melting shoreline.

A single cut from the debut album "Orca" by NTsKi, a Kyoto-based electronic music producer/performer. It is a 7-inch single that couples "Takao Remix", which was previously available only on the Japanese CD version of the same album, and the instrumental version by Takao.

Futoshi Moriyama is an Osaka-based electronic music producer who began his musical career in the early 2000s improvised music hothouse of Osaka’s Shinsekai Bridge, an important venue for the “Kansai zero sedai” (Kansai Zero Generation), which sprang up in the wake of The Boredoms’ world-wide success. Kazuhisa Uchihashi was the axis of this Bridge scene; his workshops allowed a generation the freedom to develop their own voices. Moriyama’s early improvisational work often saw him using cheap samplers to surprising ends, but since then his work has moved in a more composed direction, while still investigating electronic sound. This particular release, which appeared initially in 2015 as a cassette on the Birdfriend label, run by Koshiro Hino (aka YPY), was a year in the making. All of the music was composed with software instruments, spurred by a desire to move beyond his previous work, and can be heard as a home-recorded orchestral music.

"Rhythmic Brutalism" is the title of this release, available also as a double CD set or two separate 12" vinyl LPs; the title is also a very apt description of the music itself. Romania-born Alexandra Atnif is fascinated by the harsh, grey concrete beauty and minimally repetitive force of the brutalist post-war architecture of her homeland, and this fascination has given rise to the music here. Vol. 1 is an EM Records edition, compiled from an earlier self-released double CD featuring recordings from 2014-15. Vol. 2 consists of previously unreleased recordings from 2015 to 2017. Using elemental, inexpensive technology, Atnifs music is heavy and harsh, stripped down to distressed skeletal frameworks, rhythmic noise, rusting metal and weathered concrete, a distorted DIY realization of her beautifully brutal vision. With a background in European modernist/avant-garde music, Atnif has been influenced by early rhythmic industrial music such as Throbbing Gristle, Esplendor Geometrico and Muslimgauze, as well as later practitioners of rhythm and noise including Pan Sonic, Autechre, Winterkälte, Prurient and Scorn. Across the relatively brief span of years contained within these two volumes, we hear the rhythmic structures begin to fracture and fray, and the outlines darken and become more obscure, with Antif's sensibility evident throughout.

Whether it’s Hip Hop, it’s face pointed reverentially to the Old School, or House stealing Disco riffs by the truck load, people are increasingly intrigued by back-in-the-day. And common to both the aforementioned scenes and much more is one person, Arthur Russell, a man some regard as the best songwriter of the 20th century. In 1981 Arthur set up Sleeping Bag Records with Will Socolov. The first release was the album “24-24 Music” as Dinosaur L. If you’re wondering about the name it would appear Arthur would often use the names of extinct or near-extinct animals. On one production credit he’s “Killer Whale, whilst the logo for Sleeping Bag is a Koala bear! Will remembers how they came up with the name for their label. “We were joking about names, and James Brown was on with “Papa’s Got A Brand New Bag” and I was sleeping in a sleeping bag in my apartment and I kind of made a joke about that, and Arthur said that was a great idea for the name of the company!” The line up was pretty much the same as the Loose Joints sessions, (which boasted the Ingram Brothers rhythm section) and a similar stream-of-conscience approach was taken with the recording itself. Russell arranged the beats so there’d be a change every 24 bars (hence the title) and the band would have to improvise the songs over the top. He also made sure he went into the studio when there was a full moon! The album is again very experimental, and makes occasional uneasy listening but the same magic is very much in evidence. Arthur would continue to be involved in production and mixing duties for the label, but parted company with Socolov in 1985. Arthur sadly died of AIDS in 1992 leaving behind many songs; as one obituary put it, it was though he simply vanished into his music.

The devil machine psycho funk of Washington DC, who is invited by Prince from the funk spirit world, that wicked witch breaks the silence and releases the new single for the first time in 30 years, 12 inches of old and new east-west crossovers set.

Disc 1 contains 4 new WW songs (1 song remixed and remastered), Disc 2 contains re-editing of up-and-coming German creators / skaters and DJ slingshots, and Koshiro Hino (YPY) + Yosuke Yukimatsu (YY). Includes reconstruction by the new unit YYPYY. In fact, Wicked Witch, who has been playing music for a long time, has desolate acid funk, "Funky by U" like Indian base music, "Under Your Spell 2016" and stoned. The condition is overwhelming (I do not know what the aim is again this time). DJ Slyngshot is an experimental and 80s flavour hard beat re-edited with a mix of early Chicago house / old school / techno. On the other hand, Hino and Yukimatsu are metamorphosis tunes that dragged WW into another dark side (

Nana Vasconcelos meets Midori Takada! ?? !! "Beginning" is a threatening work in which static and dynamic are delicately and boldly intermingled with ambient closed-door exotic fantasy dance music born from the exploration of the devilish world of a single overdubbing orchestra. The coupling is that Lena Willikens REMIX!

M Records will deliver the world debut of Mari Sekine, a percussionist who is active in the band! With over 10 minutes of masterpieces, you can easily control more than 15 types of percussion instruments such as kalimba, marimba, udu drum, goblet drum, djembe, talking drum, cajon, berimbau, etc. by multiple recording, and combine them with tape reverse rotation and voice. Unsurprisingly, this "Beginning" is Sekine's first "solo" recording. And it is clear from listening to this song that Sekine's musicianship was not cultivated yesterday and today. Midori Takada's fans, who seem to be the biggest hidden talents in recent years, will be surprised and welcomed. Overdubbing by multi-percussionists is also found in contemporary music, but has there ever been a work that has such overwhelming power and is compatible with everything from home listening to the floor? Expectations are high for the 1st album being produced!

The coupling is a angry funky uppercut that extracts the tribal component of "Beginning" with REMIX by the popular DJ Lena Villikens!

* "Beginning" is a rework of the song released as her 1st single "midori" (Tongs International), returning to the original title at the beginning of the recording, extending it almost three times, and reworking it into a reggae disco 12-inch composition.

Mari Sekine Profile:
Touched percussion instruments at university and started activities after graduation. After working as a JAZZ FUNK band, he joined the big band "Shibusashirazu" in 2000. Currently, he is active in sessions such as Goko Nishikawa (ex. Shang Shang Typhoon) "Hoshi no Hibuya", Michiro Endo (ex. THE STALIN) "THE END", percussion instrument group "Orquesta Nudge! Nudge!" There are many activities in theatrical works, such as Kazuyoshi Kushida's "Caucasus's White Ink Ring", "Sunshine Bo", "Sanjin Yoshizo", "Kiri no Yozo", Yang Jung Eun's "Peer Gynt", and the theater group "Kaze". Participated in "Matsurowanu Min" and "Mud Rear" of "Brick Dance".