Exciting new label Lost Futures tap “into the inherent idealism of rave” with this killer 1992 techno session by Arno Peeters, Sander Friedeman and Richard van der Giessen aka CultureClash, who were originally conceived at the behest of Irdial Discs’ Akin Fernandez for an hour long live performance on his Kiss FM show.
For the first time, that show has been edited to individual tracks and made available on vinyl, some twenty five years after various failed attempts to properly release its seminal slice of dancefloor history. Fans of Psychick Warriors Of Gaia, Underground Resistance, Muslimgauze or Utrecht’s U-Trax need to check this one, pronto!
Originally converging under the moniker, The Awax Foundation, the trio from Utrecht recombined their vast, personal reserves of ethnic and traditional music samples from across the world with an Atari 1040ST, a cheap mixing desk, synths and FX to effectively assuage techno’s increasingly masculine stomp. The results essentially picked up where their fellow countrymen, Psychick Warriors Of Gaia left with 1989’s tribalist EBM templates, pushing farther along those lines to a loose, driving, hypnotic sound which swerved accusations of “ethno-techno” appropriation thanks to their sincerity and results which have evidently stood the test of time.
CultreClash thus stands a temporal crossroads which perhaps resonates more with our modern times than any other. In 1992, a decade after the swell of new age, and years after the future-primitive thrust of Chicago house, or even Detroit guys fetishising Japanese electronics and synth-pop, the techno movement was in full flow, cosign to the grasp of white europeans who, on the one hand, wanted to make it more commercial, for bigger raves and the charts, while on the other hand, others wanted to explore its esoteric, aerobic mystic potential, such as these Dutch dudes.
The results of their endeavour form a killer set of DJ tracks and a necessary time capsule from that era, hingeing all kinds of mad polyrhythms, chants and sampled instrumental tones around rolling kicks and natty electronics. In the wrong hands that could have come out terribly, but these guys got it bang right with tracks like the febrile, heatsick ace Bad Dream, or like a tuffer NAD with the brooding NYC-Nonplace vibes of Mystic (House Dub) or the mesmerising acid fuss of U.U Inlands (Halal Edit) and the rolling breakbeat bustle of Zitarz, while making room for more spacious, wistful rave kisses in the sloshing, Muslimgauze-like Mama Africa and Asian Approach, or the sufi-esque dervish, Yatiyaña.
CultureClash weren’t the first and won’t be the last to try this sound, but they did it with timeless style and effect that totally deserves this reissue, which we can’t say about many other similar attempts.
One for the dreamers of the dream.
’90s-styled indie-rock/shoegaze on Big Dada?
“EERA, the moniker of the Norwegian-born, London-based musician Anna Lena Bruland, will release her debut album Reflection Of Youth via Big Dada. Today she shares two tracks, “I Wanna Dance” and “Christine”, showcasing two facets of the upcoming, much anticipated Nick Rayner-produced record. On the upbeat “I Wanna Dance”, the pressures of modern life - financial, romantic and existential - are kept at bay by intervals of good, old-fashioned hedonism. “Christine”, a gentle song about courage, advice and family, is the album's emotional core.
Reflection Of Youth - which was recorded in a studio on a working dairy farm deep in the wilds of West Wales as well as in the producer’s home studio in Cork, Ireland - is an album of visceral beauty and blistering honesty. It is a brave, candid and uncompromising record about finding purpose from confusion and strength in your weaknesses. It’s about learning how to work through your problems and take charge of your own life, instead of relying on others to do it for you. Its ten songs were largely composed in the small hours of the night and are arguably best experienced in that context, when soul-searching and introspection come naturally.
For Anna Lena, the album is a document of a tumultuous chapter in her life. It’s very much about living through your twenties, which in Norwegian society are “the years when you’re supposed to figure everything out.”
Reflection Of Youth follows the release of last year’s eponymous debut EP which received radio support from Huw Stephens (BBC Radio 1), Lauren Laverne and Tom Ravenscroft (BBC 6 Music) as well as critical praise from the likes of The Sunday Times and Time Out New York who included “Drive With Fear” in their Best Songs Of 2016 list.
On Reflection Of Youth, EERA’s sound has already evolved into something rawer, rockier and noticeably angrier. "It was a really odd experience to listen back to the record and realise what I'd made," says Anna Lena. "I was surprised by how different, how much more powerful it felt from the EP. Those songs sounded like I was quietly knocking on the door, trying to get in, whereas the album feels like I'm stepping through it." If Anna Lena set out to achieve anything, she says, “it was to make an incredibly honest record that would give people a real sense of who I am. I think it’s important to be vulnerable, to not be afraid of showing emotion and be open about it with the people around you. We all face problems in our lives, so why not meet them head-on?”
James Holden and pals converge on a raucous psych-folk-tronica sound presumably meant for cider-soaked harvest festivals and grazing thru fields of magic mushies. Ecstatically giddy and eldritch-tinted stuff.
“Let yourself be transported to a magical other world of instinct and intuition with this bold new set of synth-led folk-trance standards from electronics guru James Holden and his newly-expanded band of fellow travellers The Animal Spirits. A wild ride that unites the characteristic propulsive melodic vigour of his custom-made modular synthesizer system with an unlikely supporting cast of brass, wind and live percussion, the expansive and transformative psychedelic journey of The Animal Spirits is certainly eternal outsider Holden’s most ambitious work to date – but surely also his most direct and accessible.
Since the release of 2013’s epic pagan saga The Inheritors, the kraut-tinged synth-and-drum core of the live touring outfit assembled by Holden to spread his alternative electronic message around the world has picked up several additional members along the way. Legendary jazz band leaders Don Cherry and Pharoah Sanders provided the blueprint for this quest to assemble “something like a spiritual jazz band playing folk / trance music”, but here cornet (Marcus Hamblett) and saxophone (Etienne Jaumet) function as the complement to the star soloist of Holden’s ever-strident synth. Meanwhile drummer Tom Page’s is inextricably bound to Holden's synth care of self-coded interactive drummer-following software, keeping pace with the almost imperceptible – yet unmistakably human – micro-errors in timing which lend live drums their natural magical groove. Thus Holden’s drummer is liberated from the brutal tyranny of the click track and a new organic symbiotic relationship between human and machine is unlocked. Producer Holden’s creative control over the project is absolute, from building his own synth and software, writing the musical backbone and steering his players, to self-recording, self-mixing and eventually also self-releasing the finished collection on his own imprint.
This heady blend of the electronic and the acoustic came into being during the hot and sticky summer of 2016 under the direction of fledgling band leader Holden at his Sacred Walls studio in London. In a bid to capture what he calls the unfakeable “psychic communication” of a group performance, The Animal Spirits was recorded live in one room together in single takes, no overdubs, no edits, in accordance with his own self-imposed dogma.
What has emerged out of these sessions is a genre-blending new form of universal music that feels inherently fluid and alive. Just one example of the record's wide-ranging influences, the relentless, elastic and hypnotic polyrhythms of 'Pass Through The Fire' grew out of Holden’s 2014 trip to Morocco to work with legend of Gnawa music Maalem Mahmoud Guinia. The first song he wrote for the band, 'Pass Through The Fire' took shape over months of pre-show dressing room practice, as Holden set about transmitting the distinctive Gnawa rhythm to drummer Page. It soon made its way into the pair's live shows, adding Jaumet's on-the-hop improvised sax contributions further down the line. Holden says, "This was where I got the idea that songs are just backbones or seeds and the strong ones teach/reveal themselves to the players rather than the other way round."
As promised, Throbbing Gristle cough up what is essentially their Best Of… on vinyl for the first time, repackaging and expanding their 2004 CD, The Taste of TG (A Beginner’s Guide to the Music of Throbbing Gristle), with Almost A Kiss, taken from the Part Two - The Endless Not album, which serves to now bookend the collection between 1975-2007 and offer a broader, truer picture of the nonpareil, infinitely influential group’s jagged timeline.
There’s nowt we can add to the mountain of writing already on Throbbing Gristle. But, in context of the release, for the uninitiated, afeared, or just plain ignorant listeners out there who haven’t a clue what TG are about, we advise cupping this album with both hands and drinking deeply, then deciding which of their bloods tastes the strongest, and pitching yourself down the rabbit hole of their corresponding catalogue. Then read Cosey Fanni Tutti’s Art Sex Music to put it all in historic context.
You’ll thank yourself for it soon enough, even if the neighbours don’t.
Surely the UK’s most prized punk-funk group, Golden Teacher tighten the screws to loosen your hips with No Luscious Life, an instant-classic debut album of seven incredibly infectious tracks getting to grips with all of GT’s worldly influences, and then some.
Since emerging on Optimo Music to a round of acclaim in 2013, the band have revealed their Green Door Studios home to be an unparalleled hotbed of creativity for themselves and Glasgow’s finest freeks, but arguably keeping a neck ahead of everyone else thru their untamed diversity and skill at refreshing vintage aesthetics.
No Luscious Lie is the strongest, well-rounded testament yet to their sound, kicking off with the ESG space bounce of Sauchiehall Withdrawal to cycle thru influences ranging from Senegalese talking drums - think Mark Ernestus’ Ndagga Rhythm Force on bucky - with Diop, before cooling out with the preppy Detroit funk of Spiritron and the heat-warped Afro-disco soul strut of The Kazimier, reprising the dubby depth of their Dennis Bovell hook-up with Shatter (Version), and playfully bending time ’n space like some Bruce Haack-meets-Craig Leon screwball on What Fresh hell Is This?
Beautiful new album from longtime Room 40 friend and collaborator Ueno Takashi
"I confess to being in a state of ceaseless awe when it comes to Tokyo guitarist, Ueno Takashi. I have had the pleasure to know Ueno now for well over 10 years. In that time he has remained a source of constant curiosity and surprise. Just when I think I have the man pegged, he throws out some unex-pected musical gesture that completely catches me off guard. Whether it be his work with Saya in Tennis-coats, or his almost endless stream of solo releases, many of which exist in very short run editions, his mu-sic typifies a tireless desire to explore. Recently Ueno’s curve ball has been his project Off Strings with Vice Japan, where he talks to leading Ja-panese guitarists. It’s an incredible series of interviews, which I heartily recommend checking out.
The re-sults have been quite extraordinary and his session with Haino Keiji a personal favourite of mine. Yet an-other pleasant surprise from this maestro. Over the course of his previous solo recordings for Room40, Ueno has tested very reductive compositional approaches. Each of the records has created a precise and unique approaches to guitar. Sui-Gin, his first solo for us, almost 10 years old, remains one of Room40’s most individual sounding recordings. It’s a col-lection of alien tones, uneasy yet beautiful. To this day I still can’t quite imagine how he drew so much harmonic richness from such a limited palette; one instrument and one pedal. Smoke Under The Water, a title I can only assume maintains at least a little humour about it, is easily the most beautiful record Ueno has made in recent years. Here, the lushness of his playing meets head on this is minimalist compositional heart. This record bares a close attention to detail. That is not to say it is fussed over or seeking some kind of state of perfection. On the contrary this is a record about perfor-mance, about taking a beautiful compositional idea and seeking to document it with the life and breath that is so critical to solo instrumental works. I implore you to listen to one of Japan’s true master’s of his craft."
Lawrence English, October 2017
Bibio makes his most affective move in a while with the wistful, nostalgic reflections of Phantom Brickworks; an elegant ambient meditation on the intangible aura or spirit that people imbue places with, and vice-versa.
Over the years since Fi, Bibio’s BoC-like (or lite) debut for, we’ve variously heard Bibio as ambient dreamer, soft-boogie whiz, and folktronica bard. However, by swiping away the beats entirely and following his improvisational instincts, Phantom Brickworks seems to dwell at the square root of all those styles, divining and calling forth a ghostly, melancholic spirit which lingered in the background and between the cracks of all his previous releases.
In terms of its autumnal, decayed pallor and silty sense of depth perception, not to mention to obvious themes of nostalgia and memory stimulus, Phantom Brickworks operates in very similar realms of the imagination to The Caretaker, conveying a very particular, elusively eldritch brand of sehnsucht or hiraeth; a feeling that defies concrete description, but you know when you feel it.
No hyperbole; Phantom Brickworks is the loveliest album Warp have released in a while.
Severely killer gothic darkwave volley from Norn Iron’s Autumns, proceeding the examples of Terrible Tuesday for Downwards and a clutch of tapes and LPs for Clan Destine with their fiercest material yet
A jagged ramp called Self Consumed that sounds like Silent Servant on meth; the jabbing 16th note synths and EBM shunt of Headache Tablet; bitterest wave sentiments in You’re A Right Useless Cunt Aren’t You; and supremely messed up drum machine fizz in City Secrets and Distorted Thinking.
RIYL Factory Floor, Powell, Not Waving, Marie Davidson.
Arthur Russell collaborator Steven Hall reprises the Nirosta Steel alias in a reissue of his album, Dry Ice, comprising tracks witten between ‘80s and ‘90s which he originally issued on his Buddhist Army label, and is now remastered for this edition and the digital age.
We’d recommend checking out the concrete disco of Atmo, the dubbed out disco of Heaven / List Of Boys (Medley), and the super sub-heavy yet effervescent house-pop ditty Lite Nite for that authentic downtown NYC sound that we’d wager you’re looking for.
Squashed, bouncing house dubs
“Optimo Trax presents a 4-track EP from Germany’s Mathias Schober, head honcho of Berlin’s Lossless label. As always we prefer to let our artists do the talking. Here’s what Mathias has to say about this release -
The idea behind all tracks on the EP was a simple setup of drums and one synth that would do a main sequence/sound, yet there’s a lot of detail in all of them. ‘In A Certain Way’ features a 808ish beat with a main sequence coming from a tiny monophon synth called Atmegatron - 8Bit love, it turned out being much more music than I thought it would be when I set everything up.
‘But What Rules Are Made For’ is the same setup but the sequence is a 101 and so are all the washed out fx synths. On ‘Is To Break Them’ I went a different route, I had the dub, delayed stabs synth first as I was messin’ with my Moog and a Space Echo - which btw is used on every single track I release, if you haven’t noticed yet.
So I was trying to build something around those stabs in order to fit the track to the others and so I ended up with another sequence coming from my Moog. As there was still space on the record, I decided to add an ambient version of ‘Is To Break Them’, I love the ambience on this track. I hope that my love for dub sounds is obvious enough on these tracks. Happy I found such an excellent home for the EP!”
Compilation of new music from GETME! artists old and new including Lil Jabba, Becoming Real, Hello Skinny, Kit Grill and more.
"A mixed bag of sounds and genres with the likes of Kit Grill delivering his signature minimal sound, Hello Skinny jamming out with a jazz / funk flare, New York's Lil Jabba delivers his sinister mutant take on club music, Becoming Real takes us on a techno led work-out, Lixo explores tribal percussion and heavy grooves, Nicky Otter experiments with squelchy arpeggios and progressive synth lines whilst Erosion Flow soothes with ambient nuance and stripped back drums. Ten new tracks for ten formative years.
Run with love by Alex Hislop(AKA producer LIXO) GETME! has always been known for their brave and eclectic output. From it's humble beginnings as a club night in a West London pub in 2006 to now being one of the most well respected alternative institutions in the city, GETME! have long been pioneering music that isn't so easily definable."
Bristol’s No Corner celebrate 5 years of singular-minded dub mutations with a killer gangbang of classic and new, exclusive gear from El Kid (Sam Kidel), Asda, Seekersinternational, Spiritflesh, October, Jabu, Andy Mac & Ossia, Lurka, Lily, Hodge, October, O$VMV$M, Mark, Japan Blues and more.
Since its inception in 2012, No Corner the label has been a wide open meeting place for contemporary dubbers of all stripes, setting a rooted yet loosely mutable precedent that strongly echoes Bristol’s sound system heritage and is best defined as a product of that city’s post-punk, house and dubstep-drenched environment.
At 28 tracks wide, there’s a lot to take in, so we’ll head to our highlights. The Asda tracks by Seb Gainsborough (Vessel) and Chester Giles (Jabu) exemplify the breadth and dilated focus of the label somewhere between dub poetry, chamber music and concrète, best in the wist of The Desire for Light and Stars and Jubilant Songs, and no less in Japan Blues’ cracking, dub-weighted remix. Filter Dread’s Oddity meanwhile renders lushly vaporous traces of techno and up-to-the-second electronica, and Vessel’s Psychosis remix of We Need Mirrors by El Kid (Sam Kidel) spies a lesser heard, cranky niche of their industry-dub aesthetics, whereas Seekersinternational dub it hauntological on TekWeh.
However, the main thrust of the set leans towards recent, new and upcoming No Corner sounds, taking in the elusive smoke curls of Hodge’s Body Drive along with new introduction to the label such as Kinlaw with the hall-of-mirrors chords of d.3 Hash and Lurka on the weightless pressure of Friday Night Sit In The Dark, plus highly promising new projects in Spiritflesh’s echo chamber excursion, Ever Impending Doom, an exclooosey SKRS dub, TroubleRoundDiCorner, a steeply abstract one from Robin Stewart (Giant Swan), and the gully drill of Wu-Yen’s Splurge.
Best yet from Tessela on his Poly Kicks label, substituting stilted 4/4 and breakbeat patterns for a slinkier, supple and hypnotic style with little concession to his proper techno drive.
In Sorbet it sounds like this transition is occurring before our ears as his syncopated drums gradually grate their cogged teeth into a a sort of coarsely fluid swing smoothed out with contrails of diva vocals subtly contoured into rave peaks.
By the time we get into Diving on the B-side his drums have worn down to a frictionless roll of B-More breaks underlined with brooding Reese bass pressure like some early ‘90s KMS ace.
Metro Area’s seminal, eponymous debut album of disco resuscitations struts back onto the scene for a 15th anniversary edition, having lost none of its lustre over the interim years.
Morgan Geist has been releasing records for years on numerous labels such as Metamorphic, Clear, and his own Environ imprint, hitting gold with the future-disco purpose built for his Metro Area label.
For a taste of the funk, head for ‘Miura’ with it’s handclap beats and accapella samples enhancing the good side of the 70’s dance craze, but with no brass section in sight. Synth’s galore and floor bound grooves litter the LP and it runs superbly as an album, but also as single tracks, hence the poularity of the 12”s.
Career-spanning retrospective of Matthew Puffett’s Detroit-inspired Future Beat Alliance output, drawn from 20 years of releases on Tresor, Delsin, Void Records and Eevonext, plus a few unreleased archival joints.
Henrik Schwarz’s Between Buttons label is pleased to announce its second release, Aphorisms, is a six track debut record from Syrian musicians Khaled Kurbeh & Raman Khalaf Ensemble.
"Raman Khalaf and Khaled Kurbeh are now based in Berlin but hail from Syria, and that shows in the music they have been making together since 2015. The years since have seen them perform at the likes of CTM, at the BBC Arabic Festival in London and Potsdamer Tanztage as well as on Piano Day at Funkhaus. Their sound mixes up Raman’s oud playing and vocals with Khaled’s piano and synthesisers, and ranges from largely acoustic, such as on this EP, to more electronic when performing live.
This new record was written by Khaled and Raman and was later recorded with an ensemble of Berlin based musicians. They have diverse backgrounds that range from formal classical studies at conservatories to virtuoso jazz musicians and include Tom Berkmann on bass, Moussa Coulibaly on djembe, Ashraf Kateb on violin, Matthias Ruppnig on drums and Nora Thiele on percussion.“The record was written over the last two years and blurs lines between written music and improvised playing,” says Raman. Khaled then adds, “The pieces articulate our reflections on different topics such as solitude, absurdism, the simple man, and despair in a fictional musical narrative, hence the title Aphorisms.”
The music itself fuses ambient, jazz, minimal and world styles right from the off. Opener ‘Toska’ is an epic cinematic opener. It’s warm and gentle with oud and violins making for their own little chapters in the overall story.
‘Interlude’ is an absorbing passage of piano, double bass and synth and then ’To Kafranbel’ is nimble and dynamic as keys and oud sounds dance about. ‘Al Baseet’ is another upbeat number with hand claps and oud bringing a nice sense of groove to the Iraqi-style vocals up top, while ‘Shamal’ is a snippet of a long, bass driven studio live jam with claps, djembe and percussion before the pensive pianos of ‘Einsamkeit Impromptu’ round things out in tender fashion."
One of footwork’s original architects - among those who saw its transition from booty-jukin’ ghettobass to the style we know it as - Traxman claims his spot on Teklife with the inimitable Tekvision
Percolating the pressure in eight parts between the weightless turn of Be Gagen with DJ Earl, to go solo with killer work in the booty-cubing Drop It Down, to James Baldwin-Sampling funk minimalism with Control Ya Bitchezzz, chopping MJ into footwork style on Gone Girl, and straight killing it with the staccato ear worm of Twist Da Party Out, and his freaky AF Whop Line.
CPU hail the 2nd album by retro-futurist ‘bot, AB2088, previewing two LP tracks on his first ever vinyl release, following their issue of his Sagittarius album and Natural Sciences’ recent release of NXPCHOIR.
A-side, All The Eyes dispenses a rudely swung piece of Red Planet electro funk laced with curious, probing melodies, strangely enough sounding shades away from certain sections of instrumental UK grime.
B-side, on TX0 he follows that line down a sino-electro-grime wormhole, hingeing off cold woodblock drums and sparse, arcing arpeggios in a dark space somewhere between Arpanet and Scratchy.
In the slipstream of her World Of Waking State album, Steffi Doms rolls the album’s ‘90s AI, Detroit and Dutch techno themes into these DJ tools
Keeping the acidic pressure fluid and rolling with the stealth techno missile Exit The Ego, and smart electro hydraulics in The Big White bang.
While the righteousness of blackness is at the heart of the Rastafarian faith, this collection illustrates how black pride remained a central theme, if not the defining essence, at the very core of all the music created at Studio One Records.
"Black Man’s Pride is the striking new Studio One collection of deep heavyweight reggae featuring Horace Andy, Alton Ellis, The Gladiators, Sugar Minott, The Heptones, Freddie McGregor, Cedric Brooks & more.
In order to understand the centrality of black identity in the music created at Studio One, we need look no further than Clement ‘Sir Coxsone’ Dodd who, who created the first black-owned record company in Jamaica.
In similar fashion Alton Ellis’s defining ‘Black Man’s Pride’ brings up emotions that are at the heart of many of these uplifting songs. Alton Ellis’ birthplace was the Trench Town ghetto of Kingston, also the birthplace of The Wailers, Ken Boothe and many other Studio One luminaries.
Clement Dodd established a musical empire firmly rooted by the core musicians working at Studio One many of whom came out of the Alpha School for Wayward Boys, run by Roman Catholic nuns, whose luminaries include Don Drummond, Johnny Moore, Leroy ‘Horsemouth’ Wallace, Cedric Brooks, Vin Gordon, Tommy McCook & more.Many of the songs featured here come from the transitory phase in reggae at the start of the 1970s. After the exhilaration of Ska and following the cooling down of Rocksteady. While reggae awaited the arrival of roots, Studio One’s vocalists were already producing some of the moodiest music imaginable! Here are 18 heavyweight tunes, both classic cuts and super-rare tunes!"
The breakbeat-techno surgeon in efficient effect with a 2nd plate on his Poly Kicks label.
Luv Mix rolls out stuttered breaks and teasing, filtered old skool riffs on a barrelling B-line up top; Tenner Eclipse does a screwface swagger on the backside with shoulder rolling groove underpinned by wobbly Reese.
Tessela holds court on Poly Kicks following Haroon Mirza’s 50 Locked Grooves with a taut, tracky pair of rave tools.
The bustling rhythmic hypnotism of With Patsy re-routes the hardcore continuum back via Africa where he strips back the breaks to a reveal an intricate, pulsating charge of rugged micro-rhythms in Swimming.
Aces, both of ‘em.
rRoxymore leaves a smart 2nd mark on DBA with the harbinger house of Prodome and more mutant, tribalist electronics in Thoughts of an Introvert, Pt.1.
It’s really all about the 1st cut, building bendy funk on a tense, gasping refrain that lures the ‘floor into a malleable state where the breakdown’s vocal about the doomsday clock and impending apocalypse takes on a strange, juxtaposed poignancy.
As convention dictates, Wata Igarashi, Function and Marcio Shuttle furnish the obligatory remix session for Sigha’s Metabolism album.
Wata Igarashi gives two sleek overhauls of Black Massing, a rolling, pill-bellied Dusk Falls mix, and a stealthier, star-eyed Daylight Breaks take deferring the trance gratification with expert timing.
Function meanwhile takes Down along rabbit hole deep techno vectors in signature style, then Marco Shuttle melts the edges of Morning Star into a slow cascade of plummeting subs and shimmering, Vangelis-like synth brass flares.
Nice turn-up for the books; two of SCSI-AV’s finest moments, Lost System’s Saturnian Trax and Lost Trax 2 are revived and expanded for reissue on Delsin
Packing the soaring acid techno mastery of The Saturnian System and the Drexciyan electro-acid of Self Destruct Sequence from the 2006 release, along with the sublime Derrick May styles of The Sequel, and Convextion-like vibes in Birth, from their 2010 follow-up 12”.
Great call for any classic, deep ‘90s techno fiends.
Kosmische-toned techno momentum from Avalon Emerson
Following fluttering trajectories on One More Fluorescent Rush and rustling up some digital dust with the grubbing drums and squawking avian electronics of Finally Some Common Ground.