Techno

Halo

Label favourite Tom Demac returns to AUS with a four-track EP of hardware laden, dancefloor ready cuts that are sure to take the roof off the club! Taken from The Smoke Stained Ivories EP
is this weighty number RIP Vogel, a track that takes no prisoners as it stomps its way through the dancefloor. Dropping this Monday 16th March, press play on this exclusive i-D premiere.
https://soundcloud.com/tomdemac

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Premiere: Tom Demac - RIP Vogel

Levon Vincent – Invisible Bitchslap EP
Label: Deconstruct Music
Catalog#:DEC-01
Format:Vinyl, 12", EP, White Label, 33 ⅓ RPM 
Release: November 08

The B-side of this humorously titled release is hands down one of my favourite tracks of all time, and definitely my favourite Levon Vincent creation. One of the few records that I can honestly say is well worth the high marketplace price, though I hope my copy gives me years of play! There's really no fitting description for this shifting chugger; it's a totally melodic and dubby slice of techno with a nice, subtle tinge of house-y-ness. It keeps going and going, with every element in its perfect place. Lots of reverb and warped sounds that build a series of layered loops from some ultimately quite simple components. For me that's the mark of perfection: a fugue-like cycle that plays on a perfect kick, bass drum, etc. And did I mention there are some VERY fat synth chords? Oh, and I just listened to it again and must add that there are some sweet pitched up lasers. I've always had a soft spot for the sound of lasers! Mmmmmm, Woman Is The Devil indeed.


Levon Vincent-Woman Is The Devil

https://tulpaovi.lnk.to/loungesabotageep

Artist: 	Santos
Name: 	Lounge Sabotage EP.
Tracks:    Lounge Sabotage / Age of Gold / In The Evening
Date: 	28. March I 2025

Graphic:	Simon Störk
Master:	SoundGod Hans Frage
Promo:	SilenShoutCommuncations
Distri:	Zebralution


Robag Wruhme has been playing songs by Santos from Frosinone in Italy in his DJ sets for a long time. It is always these kinds of weapons that bring the dance floor under control. Santos himself produced music since 1994 and runs the label “Let Me Understand Records”, and has been releasing exclusively his own great music on it since 2018. One day Santos sent a live session demo that immediately caught Robag Wruhme’s attention. The rawness of the beat construction and the strong influence of jazz were just more than right. Now the song is called “Lounge Sabotage” and brings two super sweet friends with it. They are called “In The Evening" and “Age of Gold”. 

We are more than pleased that this 3 track EP will be released on Tulpa Ovi Records.
 
RW + Tulpa Crew

Santos - Lounge Sabotage

Afters on mars v2 (WIP)

Support the label: https://osmium-lab.bandcamp.com/album/osmva002

Support the Artist:
SC: soundcloud.com/bambi_berlin
IG: instagram.com/bambi_berlin/

Support the Label:
SC: on.soundcloud.com/osmium-lab
IG: www.instagram.com/osmium.lab

PREMIERE: Bambi-S - Every Soul Every Face [OSMIUM]

Artista: Steve Thirry
Sello: @fenix_fire_records

Con ‘I Wanna Jack’, Steve Thirry se adentra de lleno en el territorio más físico y directo del Chicago house, firmando uno de los cortes más funcionales y orientados a pista de Jackin’ Up The Juice, su nuevo álbum en FenixFire Records, previsto para el 13 de diciembre de 2025.

El track se construye sobre un groove clásico, con una base rítmica firme y un bajo elástico que empuja sin concesiones. La percusión, clara y repetitiva, marca un pulso constante mientras pequeños acentos y detalles vocales refuerzan ese espíritu jackin’ que conecta directamente con la tradición house más cruda y bailable. No hay adornos innecesarios: todo está diseñado para funcionar en la mezcla.

‘I Wanna Jack’ destaca por su efectividad y su respeto por el lenguaje original del género. Steve Thirry no busca reinterpretar el Chicago house desde la nostalgia, sino utilizar sus códigos esenciales para construir una herramienta actual, pensada para sesiones largas y contextos de club donde el groove sostenido es clave.

El álbum Jackin’ Up The Juice reúne diez cortes que exploran distintas facetas del house más rítmico, y ‘I Wanna Jack’ actúa como uno de sus puntos más directos y reconocibles. Un track que entiende la pista como espacio de repetición, energía y conexión colectiva.

Como las Grecas estrena en exclusiva ‘I Wanna Jack’, adelantando uno de los momentos más orientados al baile del próximo lanzamiento de Steve Thirry en FenixFire Records

PREMIERE: Steve Thirry – I Wanna Jack – FenixFire Records

Buy Vinyl & Digital: bit.ly/uv033bc

Release Date:
Bandcamp: 26.10.2015 (Vinyl & digital)
All other stores: Vinyl 06.11.2015 & Digital 09.11.2015

After opening up his heart with his wonderful solo debut album last spring, it was about time that Joel Alter’s “Heart” gets a proper remix treatment. None other than fellow Swedish countryman Jesper Dahlbäck adds some spice to the intimate affair that is “22 Hours” under his “The Persuader” moniker. His take is a spooky yet compelling peak time bomb. Dorisburg transforms “Everlasting” into a funky and Acid-driven ride that is hard to resist. On top, you’ll get the Original mix of “Mecca” spread over a whole 12” side and a Discoid version as a digital bonus.
The wonderful artwork was created by Joakim Heidvall.

Buy Vinyl & Digital

Joel Alter - Everlasting (Dorisburg Remix)

Abe Duque - Following My Heart (Oliver Huntemann remix) - Process Recordings

Daniel Steinberg - I Like To Be

http://www.beatport.com/track/the-beginning-stephan-bodzin-stratos-remix/3958352

http//www.stephanbodzin.com

booking stephan bodzin: www.plantage13.com

Get this track exclusive on USB Stick prior to release: https://www.facebook.com/florianmeindlartistpage/app_172876086066223

Also hot: Florian Meindl - Desert Falcon EP http://www.beatport.com/release/desert-falcon-ep/991895



Florian Meindl - The Beginning (Stephan Bodzin Stratos Remix)

TOTMACHER by DJ Hell - Released in 1996 - Now on Bandcamp: https://djhellofficial.bandcamp.com/album/totmacher

#djhell #totmacher #techno #house #acid #helmutjosefgeier #hellmutgeier #helmutjosefgeiertechno

Totmacher

watch "TRAUMZEITREISE" Video on Youtube
http://www.youtube.com/watch?v=PEkZ2MCsDgM

www.facebook.com/anthony.rother.official
www.anthony-rother.com

12" Vinyl exclusive available at DECKS Records
www.decks.de/t/anthony_rother-traumzeitreise-1-2-3-4/c0s-ir

Production Support by "Ingo Boss"
www.facebook.com/ingoboss.DJ
Cover Artwork by Rafael J. Heckmann (Fuku)
www.fuku.org
Video by Sebastian Pfeiffer (Everfresh Design)
www.everfresh-design.de
Mastering by Tony Calhoun (m3mastering)
www.m3mastering.com
Vinyl Cut by Andreas Kauffelt (Schnittstelle)
www.schnittstelle.ws
Manufacturing by Handle With Care
http://handlewithcare.de

(c) DATAPUNK
www.datapunk.de

Buy at Bandcamp

Anthony Rother - Traumzeitreise

POPOF @ INOX club opening 01-12-2012

Pupkulies & Rebecca - Burning Boats (Masomenos Remix)

ABE DUQUE IS IN THE MOOD FOR LOVE.

The surname is pronounced “Du-kay”. He jokingly describes himself as one of the "few producers still licenced to use the 303". But with a career that started in the early days of house at New York's notorious Limelight, Abe Duque has been at the head of the acid-house and underground-techno table since his earliest releases way back in 1993.

His first tracks were influenced by the madness of the Limelight's club-kid audience, later publicised by films and books like Party Monster and Clubland Confidential. But despite jokey titles like "Fantastico!!!", "Truckers Choice" and "Vodka, you sweet companion," his early tracks had the sophistication of his serious keyboard skills and a get-in-and-do-it-yourself aesthetic learned as a kid growing up in the suburbs in Hollis in Queens, New York.

From muscular and melodic techno to cocktail jazz and ambient interludes, his early tracks on his own labels Tension and Hollis Haus, his releases under pseudonyms like Kirilan, Super Secret Symphony and his releases on others' labels like Disko B, Rapture!, Morbid, and Tresor captured a particular period of clubbing history bought to a sudden halt when the Limelight was closed down by the cops.

It was, Duque says, a great time for musical experimentation. Each month bought radical new types of music kit - much of which Duque still keeps in use in his underground studio "the Cave" - alongside an amazement of now classic tracks and new acts.

And as techno was almost exclusively made by working musicians, a lot of it was performed live. At Duque’s night at the Limelight night, Abuse Industries, he was part of regular performances with the live techno "chillout supergroup" the Rancho Relaxo Allstars, freeform jams which included now famous techno producers like Duque himself, John Selway and Deitrich Shoenemann. For a short spell, Duque was also the keyboard player for Program2, a techno band signed to Warners for an advance Duque still describes as “insane”.

Abuse Industries itself, meanwhile, was Abe's collaboration with the artist Andy Orel, a night so strikingly visual and challenging that its visuals were exhibited in European museums, given page after page in Germany's Raveline magazine, and used in shows by Helmut Lang.

But when the Limelight closed, that roughly marked the end of New York as a clubbing mecca. New mayor Rudolph Guiliani was determined to drive the freaks, the gays and the wasted out of his town, and he mostly succeeded.

Duque by then had a thriving European and worldwide touring schedule, and musicially he still had roots in the underground. Abandoning the glossy, high-fashion style of Tension and Abuse Industries, Duque’s next sets of releases were on anonymous, vinyl only stamped with catalogue numbers like "ADR40" [Abe Duque Records 40] and etched on one side at the pressing plant with strange, hand-drawn messages from the man himself.

In some ways Duque was turning his back on the New York style, and on his previous successes. As he describes it, "I wanted to prove that my music spoke for itself". It did. Despite the secrecy about who had actually written the ADR releases, this second part of Duque's career was a run of increasingly massive 12" hits like Champagne Days, Cocaine Nights; Acid, Disco Nights, and in 2004 his monster smash with Blake Baxter, "What Happened?", the track that launched Duque and Baxter out of the underground and into the spotlight. That track's call for a turn away from safe, unchallenging clubbing sold 25,000 copies on vinyl alone and in 2009, it was the focus of a rare remix competition on ResidentAdvisor - despite Duque and Baxter's refusal to market the track by signing it to any the 100s of compilations on offer.

Having been dragged out of the underground, Duque found himself feted by the mainstream, delivering hugely successful remixes of acts like the Chemical Brothers and Pet Shop Boys while continuing to work right across the techno world. There, his brutally funky basslines and acid influence were – and still are - hugely in demand for remixes of acts such as Miss Kittin, Remute, Chloe, Savas Pascalidis, Knart IV and Daniel Meteo – as well as DJ Hell, with Duque becoming a regular on Hell's Gigolos label. The two had met having moving in the same German and NY electronic circles since the Abuse Industries days, and so Duque was asked to produce Hell's infamous album NY Muscle in 2003 and in 2006 to helm the well-recieved "American Gigolos II" compilation.

The highlight of this period, though, was Duque's first album under his own name, "So Underground It Hurts". The title was yet another example of Duque's ambivalence about succcess and its trappings, but the album was undeniably a techno event. Reviewed in the fashion press as influenced by Gigolos' German electroclash style, but the album was understood by the music press as something quite separate and self-contained.

Duque was again striking out along his own path. Part wild acid, part dark house and all leavened with Duque's dry, quiet stoner humour, the album also provided a launchpad for Duque's return to wild live performances – a whiskey bottle in one hand and a 303, drum machine, two PCs and a microphone operated by the other.

It was the start of Duque’s second, endless round of watching the world through the windows of a hotel and moving restlessly between a temporary flat in Berlin and his spiritual home in Queens. Several years on the road with his stable of vocalists – Blake Baxter, Tijiana T, Acid Maria, Virginia, and occasional appearances by Abuse collaborator Andy Orel as “Sin” – meant that Abe released only intermittently on his own label, Abe Duque Records. There, new tracks like the darkly funny It Moved Me, Whose Got the Flave, and a singles collection on CD When the Fever Breaks added to Duque’s reputation as the producers’ producer.

Eventually, though, Duque had had enough of continual touring. By 2008 he said he had been doing live sets for so long that he "was thinking about DJing again for a change, just as everyone else was going live”. Returning to the studio, he wrote the album Don’t Be So Mean, its title an oblique reference to the Iraq war and US foreign policy.

The cover? Duque on the front brandishing a machine gun - and the same machine gun pointing straight at Duque inside. Released in 2009, the album offered optimism about Obama (“Tonight is your answer”), let Blake Baxter loose on the dance scene in a response to What Happened? called Let’s Take It Back, and also marked Duque’s return to leftfield electronics with tracks like OFMA and Salute the Dawn, which threw together Debussy with lyrics by 1800s American revolutionary and moralist Thoreau.

Don’t Be So Mean was also the stepping stone to Abe’s three new projects in 2010. The first, due May 2010, will be a compilation LIVE AND ON ACID: two CDs, one of his live show, and one a wrap-up of Limelight acid-house classics. The second, under the broad church of Abuse Industries, is the return of the Abuse Industries night, and a series of sinner-themed Abuse 12”s in collaboration with Andy Orel – see abuseindustries.net for more.

And finally, Duque's third new project is a secret performance project that leaves the dancefloor world entirely.

Last year, Abe Duque was in the mood for love, and he said "Don’t Be So Mean". But as he enters the third part of his long, strange musical career, that’s all going to change…

Abe Duque - Following My Heart (Oliver Huntemann remix) - Process Recordings

abeduque

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