LDS answers their Tresor call-up with an exemplary volley of gnashing, shearing, high velocity techno missiles.
The Stuttgart-based producer chases a string of 12”s since 2017 for likes of Subway BCN, Monnom Black, and Blue Hour with a smart balance of forward drive and disruptive detailing on ‘power of 2’ certain to spark nerves and ‘floors.
Tending to a breakneck 150bpm and up, they harness a rambunctious energy in the galloping pace and panel-beating dub techno ruptures of pow’ that is sustained throughout the warped ghetto techno slammer ‘diff, block mix’, to a Nebuchadnezzar-esque ace ‘zip prompt.’
Standout ‘stadion progg’ cocks canny snook at contemporary techno grandstanders who will never play this type of offbeat sidewinder, and they really push it all askew in the Stingray-type electro-stepper ‘mud zu’, whilst Jean Redondo keeps up their end with the twisted maelstrom remix of ‘stadion progg.’
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LDS answers their Tresor call-up with an exemplary volley of gnashing, shearing, high velocity techno missiles.
The Stuttgart-based producer chases a string of 12”s since 2017 for likes of Subway BCN, Monnom Black, and Blue Hour with a smart balance of forward drive and disruptive detailing on ‘power of 2’ certain to spark nerves and ‘floors.
Tending to a breakneck 150bpm and up, they harness a rambunctious energy in the galloping pace and panel-beating dub techno ruptures of pow’ that is sustained throughout the warped ghetto techno slammer ‘diff, block mix’, to a Nebuchadnezzar-esque ace ‘zip prompt.’
Standout ‘stadion progg’ cocks canny snook at contemporary techno grandstanders who will never play this type of offbeat sidewinder, and they really push it all askew in the Stingray-type electro-stepper ‘mud zu’, whilst Jean Redondo keeps up their end with the twisted maelstrom remix of ‘stadion progg.’
LDS answers their Tresor call-up with an exemplary volley of gnashing, shearing, high velocity techno missiles.
The Stuttgart-based producer chases a string of 12”s since 2017 for likes of Subway BCN, Monnom Black, and Blue Hour with a smart balance of forward drive and disruptive detailing on ‘power of 2’ certain to spark nerves and ‘floors.
Tending to a breakneck 150bpm and up, they harness a rambunctious energy in the galloping pace and panel-beating dub techno ruptures of pow’ that is sustained throughout the warped ghetto techno slammer ‘diff, block mix’, to a Nebuchadnezzar-esque ace ‘zip prompt.’
Standout ‘stadion progg’ cocks canny snook at contemporary techno grandstanders who will never play this type of offbeat sidewinder, and they really push it all askew in the Stingray-type electro-stepper ‘mud zu’, whilst Jean Redondo keeps up their end with the twisted maelstrom remix of ‘stadion progg.’
LDS answers their Tresor call-up with an exemplary volley of gnashing, shearing, high velocity techno missiles.
The Stuttgart-based producer chases a string of 12”s since 2017 for likes of Subway BCN, Monnom Black, and Blue Hour with a smart balance of forward drive and disruptive detailing on ‘power of 2’ certain to spark nerves and ‘floors.
Tending to a breakneck 150bpm and up, they harness a rambunctious energy in the galloping pace and panel-beating dub techno ruptures of pow’ that is sustained throughout the warped ghetto techno slammer ‘diff, block mix’, to a Nebuchadnezzar-esque ace ‘zip prompt.’
Standout ‘stadion progg’ cocks canny snook at contemporary techno grandstanders who will never play this type of offbeat sidewinder, and they really push it all askew in the Stingray-type electro-stepper ‘mud zu’, whilst Jean Redondo keeps up their end with the twisted maelstrom remix of ‘stadion progg.’
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LDS answers their Tresor call-up with an exemplary volley of gnashing, shearing, high velocity techno missiles.
The Stuttgart-based producer chases a string of 12”s since 2017 for likes of Subway BCN, Monnom Black, and Blue Hour with a smart balance of forward drive and disruptive detailing on ‘power of 2’ certain to spark nerves and ‘floors.
Tending to a breakneck 150bpm and up, they harness a rambunctious energy in the galloping pace and panel-beating dub techno ruptures of pow’ that is sustained throughout the warped ghetto techno slammer ‘diff, block mix’, to a Nebuchadnezzar-esque ace ‘zip prompt.’
Standout ‘stadion progg’ cocks canny snook at contemporary techno grandstanders who will never play this type of offbeat sidewinder, and they really push it all askew in the Stingray-type electro-stepper ‘mud zu’, whilst Jean Redondo keeps up their end with the twisted maelstrom remix of ‘stadion progg.’