Techno / House

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.

"Today's dancefloors are wakes in remembrance of a mythological era of openness that never was. Remember where you were. See where you are.... I'm in Kami-Sakunobe." (K-S.H.E) "Routes Not Roots" is the debut album by K-S.H.E (Kami-Sakunobe House Explosion), the newest project from internationally celebrated producer, label owner and DJ Terre Thaemlitz. K-S.H.E "Routes Not Roots" combines Comatonse Recordings' notorious "Fagjazz" sound with the classic NY Deep House and Cross-over dancefloor sensibility of "DJ Sprinkles' Deeperama," Thaemlitz' bi-monthly event held at Club Module, Tokyo. The results are spacious, bass-heavy, epic dance mixes filled with dark humor and harsh realities. As people have come to expect of Thaemlitz releases, "Routes Not Roots" mixes a wide range of social themes such as identity vs. immigrant status; community vs. tranny-on-tranny violence; authenticity vs. cultural decontextualization; openly gay African-American club imagery vs. gay sex on the Down-Low; innocence vs. childhood fantasies of violence; and more. From HIV drug trials to tranny and women's unemployment rates to sexually amorphous Japanese cross-dressers posing as high school girls, K-S.H.E doesn't miss a beat.

A double-CD set compiling all of DJ Sprinkles & Mark Fell's collaborative 12-inches on the first disc, combined with a second disc filled with ten previously unreleased outtakes from the Complete Spiral EP sessions. As the album title suggests, listeners get an "incomplete insight" into the mixing and editing methods of these two very different electronic audio producers united by their histories with, and love of, classic deep house. (Track tip: out of this entire set, DJ Sprinkles' personal favorite for mixing on the dancefloor is "Incomplete Spiral 4.") Self-released on Comatonse Recordings with custom packaging hand assembled by Terre herself, the package includes two CDs in an archival vinyl pouch with two double-sided insert cards (100mm x 100mm), phonograph style anti-static inner sleeve, and 4x4 panel poster insert printed on newsprint (472mm x 472mm).
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 1)
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 2)
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 3)
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 4)

Official re-release of this 'lost' 6-track mini album by New Yorker Ben Cenac (of Newcleus fame). Recorded and released in 1990, this is an absolute gem of a record - very much in the vein of Larry Heard's best recordings. Now available again for the first time in 22 years, remastered + full artwork. A truly dreamy, beautiful classic deep-house mini-album from the golden-post-Larry Heard era.

Coming from a diverse background of equal amounts hip hop and rock, the producer behind the alias of nrl:ndr got into dance music late in his musical career. After playing in kraut-oriented bands like So Many Mammals, parts of that group reformed into the live techno outfit Tren Né, with the goal of fusing techno elements with live drums. Playing for illegal raves with a punk-like energy, nrl:ndr has cemented his relationship with his machines in service of the dance floor.

But his solo debut on blundar is quite far removed from that scene. To understand this music, one should be aware of the conditions under which it was manufactured. Reluctant to consider himself an artist in the traditional sense, nrl:ndr makes his music free of anticipation and without apparent goals. To glean into this outré musical space is like putting one's ear to the boarded up windows of the photograph that adorn the front sleeve.

The album makes extensive use of the Roland JV-2080, a sample-based synth rack from 1996 with a distinctly clean sound. Our producer dives deep into the expansion cards (labeled after genres like “Hip Hop” and “World”) for curious and sometimes cheesy samples. But he also forces the JV-2080 to do things which are not its forte, like the arduous task of programming decent kick drums.

Another technique that is testament to his experimental view on music making, is the idea of using sketches of unfinished tracks with different time signatures, and mash them together into something new - of which the results of one of these experiments can be heard on the closing track and its bilingual conversation between ambient and tribal.

Full of stunted rhythms and eerie melodies, the unclassifiable nature of the music of nrl:ndr lies somewhere in the vicinity of IDM, classical avant garde and private press synth. From the epic opening track - echoing the post-kraut drumming style of Michael Shrieve - to juggling with chopped up vocal samples and treading into almost trap-like territories on A4, he crosses into a multitude of genres without getting his hands too dirty with nostalgia.
Text by: Simon Eliasson

Vinyl release; 200 numbered copies, transparent 180gr LP.
Streaming available on Tidal, Apple Music, Youtube Music & Spotify.

Strong debut album by one of China’s most distinctive new industrial/dance music producers, Tzusing, for L.I.E.S.; portraying the Shanghai-based artist’s full breadth of kinky darkroom rhythms and sleazy cinematic arrangements. Under the title 東方不敗, meaning Invincible East, the record wraps an armoury of powerful percussion and native instrumentation around a narrative locus based on a swordsman character in a Jin Yong novel “who must make the ultimate sacrifice to attain knowledge and transform”. Coupled with the artist’s own observations on living in, and travelling around, Asia, it’s an urgent and gripping listen with a versatility and varied topography lending itself to DJ use and soundtracking industrial subterfuge alike. 日出東方 唯我不敗 starts out like ’05 sino grime or dubstep from a parallel dimension; Digital Properties trades in secretive choral code at a killer New Beta momentum which decelerates into the the wind-tunnel chug and pealing cyber-tribal chant of Esther. His signature triplets last heard on A Name Out Of Place wickedly come into play against sheer electric blue synth tone in King Of Hosts; we’re put thru an intense, Americanised club drill in Post-Soviet Models; and Torque Pulsations both literally and physically lives up to its name with a belly and spine-twysting EBM tattoo. TIP!

Respekt! Sex Tags Mania, Karolin, Laton, Tage Tombola, Don Papa - The Genuin Of Moss Hip-Hop, Engvaal & The Rygge Family, Lene B., Kambo Super Sound & Family, The Endless Dynamic of Dynamo Dreesen, Brian Not Brian - Going Good And Axin' It Fo' Real - Salik Zia, SVN, Nupi & General Elektro, Bjørn Torske, L.A. Morillo, Fit Detroid, Skatebård, A-Bucci, Camila 575, Dåple-Pera, Benji, Atle, Vilunki 666, Queens Only - Madteo - Keeping It A Level Higher Than The Rest, Geir & Søssa, Rat Salad, Mor & Jerry, Eupraxia, Ringvold Gasta, Unit 6Q, DJ Gilb'R & Versatile Crew With I:Cube, Sähkö & The Keys Of House Life, Winklez, Peng! Ossia, Nell & The Dennis Bros., Roland Lifjell, Paleo & The Bhakti Crew, "70 CPS" Bailey, Bodhi Beats, Pyramide Phillips, Samir M'Kadmi, Thug Records, Audio-In Crew, King 909, Graff Et Grill, Paint House, 411, Nbm, Done, Pol, Sol, Yre, Culos, Kvam, Sau 2, Coats, Buba, 1999, Tmb, Crew - Skredderåsen, Moss! It's Not What You Play - But How You Play. Recorded and digitally edited at the 6th-EonMANIA-fract2 STD between 2012-2014. Original session for Side B recorded at Pyramide Studio, Frankfurt 2010. Vocals on Side C recorded at Inna Di Bu Studio, Moss 2013. Graffiti Can't Be Stopped

Squarepusher's debut album has been remastered and reissued for the 25th anniversary! Feed Me Weird Things", the shocking debut album by the genius Squarepusher, had a huge impact on the music scene. The long-awaited reissue of the album, which has not been available on CD, LP, streaming or download for more than 10 years, is scheduled for June 4th, exactly 25 years after its release! To coincide with the announcement, "Theme From Ernest Borgnine" was released! This reissue, supervised by Squarepusher himself, has been remastered from the original DAT, and includes the two songs "Theme From Goodbye" and "Deep Borgnine" that appeared on the B-side of the EP "Squarepusher Plays..." released at the same time. The 16-page booklet includes self-reflective liner notes, explanations of each song including information on the equipment used, and rare photos and notes from the early days of the band's career. The domestic CD with paper jacket comes in high quality UHQCD (playable on all CD players) and includes a translation of the booklet, a bilingual translation of Richard D. James' contribution, and a commentary. His latest album, "Be Up A Hello," released in 2020, drew attention for its extensive use of 90's equipment, but if you listen to "Feed Me Weird Things," which includes songs he wrote when he was just 19 years old, you will understand that the early impulses of that time still drive him today, and that he continues to create unconventional works. One of the reasons why "Me Weird Things" shines so brightly in the electronic music scene, where various sub-genres have emerged, and stands out from other good works by other artists of the same era, is that Tom Jenkinson, who was strongly influenced by jazz, has achieved a revolutionary fusion of jazz and electronics, and has been able to create a new style of music that is very different from the one that has come before. One of the reasons it stood apart from the better works of its time was that it was the first work in which Tom Jenkinson, heavily influenced by jazz, achieved an innovative fusion of jazz and electronics, and showcased his superb bass playing. While the intricately composed and sometimes super-fast developing beats were inspiring, the already accomplished bass playing sounded pleasant and appealing, captivating all progressive music fans. Squarepusher is a man who wonders what kind of sound he can make without using the flute as an instrument, using only the holes in the flute. Richard Rodgers and Julie Andrews brought us the Sound of Music, or the sound of music, John Cage and Simon & Garfunkel brought us the sound of silence (in "4:33" and "The Sound of Silence"), and now Square Pusher is bringing us the sound of music that has never been heard before. And now, Square Pusher brings us the "Sound of Sound," or "the sound of sound. - Richard D. Jams Richard D. James (original text on artwork) The track list of "Feed Me Weird Things", one of the most important works for "Rephlex" run by Richard D. James and Grant Wilson Claridge, was supervised by Richard based on the tape given to him by Tom. The artwork also includes the only contribution Richard has ever written for another artist (a bilingual translation is included in the commentary of the domestic CD). After his early EPs and "Feed Me Weird Things" released in 1996, Squarepusher signed with Warp and released "Port Rhombus EP" at the end of the same year, followed by "Vic Acid EP" and "Hard Normal Daddy" in 1997, and has been at the forefront of the label ever since.

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.

2024 Repress. Essential stuff from Finnish legend, Mika Vaino ( Ø, Pan Sonic ++ + +).
One for the headphone amp / hi fi sound system crew.

Minimal & reduced nordic techno and electronics - Mika Vaino's second album from 1996 - only released on vinyl for the first time in 2019.

One year after the release of Overmono's debut album “Good Lies,” which reached #11 on the UK charts and is widely regarded as one of the best electronic records released in recent years (“the history of UK rave is distilled to perfection” - The Guardian), the critically acclaimed remix of The Streets' “Turn The Page” is now available as a single on XL Recordings. One year on from the release of Overmono's critically acclaimed debut album Good Lies (“a perfect distillation of UK rave history” - The Guardian), The Streets' remix of “Turn The Page” has been released as a long-awaited single on XL Recordings.

ダウンビート経由のディープ・ハウス/チルアウト・エレクトロニクス秀逸作！〈Tax Free〉を主宰するベルリンのダウンビート/ブレイクス名手Max Graefによる最新アルバム『Natural Element』が、Space GhostやNu Genea、Zopelarらの作品も知られるダウンビート/モダン・ファンクの一大聖地〈Tartelet Records〉からアナログ・リリース。低音重視の空想と繊細なダンスフロアの冒険をテーマとしたジャンルを超えたリスニング・トリップ。今回は、煌めく才能と伝染的なその魅力的なサウンドを、バックルームのビーンバッグに心地よく収まったサイケデリックで夢見心地のジャムへと落とし込んだものとなっています。

One of Poland’s most innovative and singular electronic producers, Hatti Vatti, lands on Belgian giant R&S Records with a new instrumental album filled with unparalleled and experimental jazz electronica. Having released three other full-length albums, most recently 2017’s ‘Szum’, Hatti Vatti aka Piotr Kaliński returns with the breathtaking freeform sounds of ‘Zeit’. Featuring Rafał Dutkiewicz on drums, Paweł Stachowiak on bass and Piotr Chęcki on saxophone, the nine-track long player brings together a collection of eclectic compositions that defies genre classifications, with echoes of the Japanese ambient scene, krautrock, jazz and dubby UK-bass. Prepare to be dazzled with this collection of absorbing and left of centre productions from the label that brought the likes of Aphex Twin, James Blake and Gabriels to international acclaim.

Light, textural daydream house from Edmonton’s Dylan Khotin-Foote, whose debut 1080p release under the Khotin title lands in the middle of close, bedroom zones and more club-friendly grooves. Since his initial moves towards house and techno genre experiments two years ago, Khotin has refined his unique slant on gentle acid and blurred yet effervescent hybrid house, with a stack of hardware: Roland TR-505, 606, 707, SH-101, Juno 106, Korg MS-10, Yamaha DX7, and various casio keyboards. Khotin’s lightly dusted grooves are inflected with a bedroom pop sensibility as much as reverence for heavy techno greats, scattering samples over breezy house rhythms. Loose themes of flight and brightness coast in and out of each side (mixed live); loose house drifters like “Flight Theme” and title track “Hello World” float on gentle bongos and hi-hats and brightly hued melodies (that are consistently focal and catchy across the record) while darker techno heavy hitters like “Why Don’t We Talk” and “Infinity Jam” bring a distinct take on cosmic hardware vibes.

The Vulgarity Of Snow is Ottomani’s woozy, lilting soundwalk through techno, experimental electronics and scorched earth acid. The untitled tracks are less like distinct entities and give way to a larger, conjoined pair of triptychs spread out over two sides of wax. They feel like a paean to the format, which no doubt comes from Ottomani’s time spent working at one of London’s most revered record shops. As a longer, more probing piece, it’s anathema to talk about The Vulgarity Of Snow in terms of bpms and sub-genres, and arguably it owes as much to free jazz and psych-rock as it does to more leaden styles such as dub and roots. At times it pays tribute to the work of acts like Basic Channel and Random Trio, deploying dub electronics in novel ways, but it is also broader in its choice of sounds. On B2, for example, Mino Carbone, the artist’s uncle and an Italian anarchist from the same lineage as artists like Dario Fo, plays a song from that tradition. It’s not a chaotic piece, but it’s not heavily constrained.

In Late 2023, Om Unit and Marta Pang were invited to perform a special performance at the Caixaforum in Barcelona. The invitees being ‘Lapsus’ who brought the pair together for a performance of 'Acid Dub : Redux’ as part of their DNIT series of events. This cassette is a complete recording of the 45 minute session which consists largely of ‘ambient takes’ on some of tracks currently released from Om Units ‘Acid Dub Studies’ series, as well as some new material specially prepared for the show which featured live visuals by Marta Pang. Some clips of the visuals can be found in the 6-Panel full-colour J-Card booklet which accompanies the cassette. ‘Acid Dub : Redux’ is an unexpected tangent of Om Unit’s ongoing exploration of the 303-in-dub and features a more minimalist approach to the concept, using more of a sense of space to accompany the visual elements. We hope you enjoy the recording as much we enjoyed performing it!

A 14 minute solo piano piece from Terre Thaemlitz alongside an incredible 15 minute Dead End House mix from DJ Sprinkles on the second in this two-part vinyl series, proper head-melters the pair of them...  Presenting vinyl versions of the bonus reworks to his 43 minute Deproduction album track Admit It’s Killing You (And Leave), the A-side includes Terre’s haunting 14 minute Piano Solo, where he drops the unsettling backdrop of samples to leave the keys suspended in reflective space, reverberating in plangent overtones which take on a starker effect if you care to play it at 33rpm.   The B-side is Sprinkles’ uncanny, brilliant Dead End house mix, a more percussive adjunct to the House Arrest mix off EP1, framing traces of the original vocal and keys in a sumptuous, rolling and swinging deep house workout full of rustling congas and lustrous low end that marks up among her most affective, especially in its closing minutes.

Watch-Admit It's Killing You (And Leave) (Piano Solo) (Vinyl Edit)
Watch-Admit It's Killing You (And Leave) (Sprinkles' Dead End)

The return of Terre Thaemlitz / DJ Sprinkles with a first solo vinyl release in over five years, features an exclusive 17 minute vinyl edit of 'Names Have Been Changed’ from the Deproduction album and DJ Sprinkles’ incredible House Arrest mix - which totally destroys us each and every time...

Asking pertinent questions about the hypocritical nature of relations between LGBT agendas and Western Humanist notions of the nuclear family, Terre’s Deproduction sensitively yet unflinchingly broaches topics usually considered taboo by a mainstream who are all too happy to pick and choose parts of radical, fringe culture to fetishise, while swerving the bigger questions proposed by those niches.

In the vinyl edit of Names Have Been Changed, exclusive to this LP, Terre contracts the original, 43 minute blend of strings and unsettling scenes of domestic violence into a 17 minute version, beautifully suspended in the cut at 45rpm in order to best represent the work’s unique democracy of frequency - from the muffled row heard next door, to its hyperrealistic avian chirrups and modestly spare, foregrounded strings. 

On DJ Sprinkles' extended House Arrest mix on the B-Side, Terre’s ideas feel even more radical when juxtaposed with a sublime deep house production, placing them in context of what was and still can be a radical artform when done with insight and consideration. The result is one of this decade’s most sublime yet unsettling house tracks, bar none.

sample-Names Have Been Changed (Sound/Reading for Incest Porn) (Vinyl Edit)
sample-Names Have Been Changed (Sprinkles' House Arrest)

A special reissue of "Fagjazz," the double CD originally released in 2000 that introduced the world to the expression 「ベリー・ファッキング重低音」. Disc 1 compiles tracks from various Comatonse releases, many of which had previously only been available on vinyl. However, the real centerpiece of the release is Disc 2 "Superbonus," an hour long ambient-jazz track in 5/4 time only found here, for which Thaemlitz received an Honorable Mention in Digital Musics from the 1999 ORF Prix Ars Electronica competition. For the collectors, the versions of "Sloppy 42nds" and "Thirty Shades of Grey" found here are different than those found on Terre's Neu Wuss Fusion "Recalls" (C.030, 2021). Self-released on Comatonse Recordings with custom packaging hand assembled by Terre herself, the package includes two CDs in an archival vinyl pouch with one double-sided insert card (100mm x 100mm), phonograph style anti-static inner sleeve, and 4x4 panel poster insert printed on newsprint (472mm x 472mm).
sample-Terre Thaemlitz & Funk Shui: Superbonus(Excerpt)
sample-Chugga: Deep Space Probe(Excerpt)
sample-Comatonse.000: Pretty Mouth (He's Got One) (Excerpt)
sample-Terre's Neu Wuss Fusion: She's Hard (Excerpt)

Khotin by Vancouver producer Dylan Khotin-Foote is a reissue of the cassette release that sold out instantly at bandcamp in 2018! The profound ambient sound is a chill-out refinement of the unfathomable depth of the previous work, which is both immersive and sleepy, and has been beautifully incorporated into the lo-fi feel of the artwork while maintaining the vibrancy of the spiritual & naturalistic sound world. This is a masterpiece of beauty that cannot be described in words, with a profound sound world that creates a dreamy fantasy land on a windowsill in broad daylight, only to sink into the border between Hades and reality. A masterpiece of unspeakable beauty. Highly recommended for all music lovers from new age to ambient and Balearic.

You can't just soak it in and sleep to it, you'll melt. From "Mood Hut" to "1080p" to "Summer Cool", Khotin, a popular Vancouver producer by the name of Dylan Khotin-Foote, has taken over the charm of the cool house coming out of Canada. The cassette, which sold out in 2017 on Bandcamp, has been reissued with 2LP! It's a lone ambient sound with a sweet layer of synthesizers drifting with dreamy ambience, a gentle beat with a hint of sanctuary, and immersive concrete sounds floating in the air. This is the culmination of the lo-fi house movement. A mysterious sound with an unfathomable depth. If you like ambient, deep house, new age, or Balearic music, this is a must have!

Ach, komm, ein Mensch kann nicht immer gut sein... This sentiment rings amusingly true for us. How did we find ourselves in this post-truth era, and why does such a term actually exist? In a world where distinctions between right and wrong blur, does the clarity of a black-and-white delineation persist? Are we progressing, or are we regressing to a state reminiscent of the past? Weaving together the complex tapestry of gore, politics, emotions, and, of course, the human experience in this work is done intricately and reflectively by the hands of Christoph de Babalon.

Cult north manc enigma Michael J. Blood provides the DDS 12” series with its latest instalment following aces by Shinichi Atobe and Demdike Stare x Dolo Percussion. From 170BPM ghetto tekkerz to bucking House, it's a full dose of fire if yr into Theo, Rezzet, H-Fusion, Marcellus Pittman... Michael J. Blood needs little introduction to followers of these pages; his misfit take on House at its broadest definition is a lowkey phenomenon, with each turn different to the previous, but all sharing a screwed passion for the rudest variegations that dovetail Demdike Stare’s own wayward instincts. Following up his outstanding recent Richie Culver link-up, on ‘Raven’ MJB plays with a custom-made trio of tracky blinders certain to set fire to yr floor. He boots right off with a searing title cut, starting up like a head-flapping nitrous oxide trip before locking into a 170BPM boot knocker imagining Howard Thomas’s H-Fusion via Rezzett at a free party. Flipside, he chills his beans in a more familiar style, wrapping warped chords around a wooden bassdrum synced to roving subs and offset claps for the loosey goosey crew, before tussling with the filters on ’TRGR’, a delicious section of insistent, Theo-ish loops woven with intuitive body geometry, liquifying limbs in a mode that also reminds us of Marcellus Pittman at his deadliest.

Modern Love’s 7” series returns with a 45 special from Chicago’s Sun God, delivering a pair of chrome-burn acid jak and cosmic house tear-outs fired to spangle the dance. Screwed, exceptional music for the club. A follow-up to Jamal’s album ‘Thanks 4 The Tracks U Lost’ (Modern Love, 2022), this rare 7” outing hails the Chi house don at his mind-bending best, plotting coordinates for the outer limits of club music whilst firmly tethered to its fundamentals. Never one to follow the grid, Jamal makes the template his own with a hands-on approach that translates decades of experience - from dancing to Ron Hardy in the ‘80s, being an apprentice of sorts to Adonis in the ‘90s, and then thru countless performances and almost innumerable releases ever since - into uniquely transcendent shapes. Coming on like Sun Ra strapped with a 303, ’It Is My Fault, My Fault Alone’ yields the chewiest acid and spitting, hot oil rhythms articulated with the sort of fervour and psychosexual thrust that underlines all of Jamal’s best work, and here emphatically brought to to the boil via a maze of knotted drums and frayed synths that join dots between Prince and Armando in an effortlessly asymmetric style. The B-side ‘Be Fearless In The Pursuit Of What Sets Ur Soul On Fire’ only ramps the pressure with a frenetic arrangement anchored to a modulated kick and synced to psychedelic synths that roll with seemingly endless momentum. At the risk of sounding like yoghurt-weaving rave casualties; Jamal is once again utterly attuned to the type of cosmic frequencies and aerobic mystic needs that have been lost in translation by successive waves of dry-ass posers and dancers who don’t like to get their kicks dirty. And for that, we eternally salute him.