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HATE - New Techno Tracks (Updated Weekly) - part 5

Daniel Avery - Magic   Memory [a playlist]

HATE - New Techno Tracks - part 5

EPANIC

Getting deeper

Listen to the exclusive GROOVE-Premiere of @PSYK Track „About Time (@anthonylinell Remix)", taken from the „About Time EP" on @kvalia. Released on 25th of February 2022.

Read our introduction here: https://bit.ly/3HRBCKy

Psyk - About Time (Anthony Linell Remix)

Title: Sounds From The Past II
Artist: Lars Huismann
Label: Mutual Rytm
Catalog: MR007
Release Date: 25.11.2022
Format: 12“ Vinyl & Digital
Mastering: Beau Thomas at Ten Eight Seven Mastering

Tracklist:
A1 Sounds From The Past II 
A2 Propulsion
 B1 Loucura 
B2 Stroke
B3 Nudge
Digital Bonus Dub Division

Lars Huismann
@lars-huismann
instagram.com/l_huismann

Premiere: Lars Huismann - Dub Division [MR007]

Claro Intelecto - Peace Of Mind

Recorded at Secret Twitchdance, 1984
Romulus Cœurque: rhythms, dub treatments | Porn Flake: synths, dub treatments

Out on "Prototech" 2x12"EP, a joint release of Dark Entries (DE-179) and Serendip Lab (SERLP007).
http://www.darkentriesrecords.com/store/vinyl/hypnobeat-prototech-2xlp/#tab-description
http://www.serendip-lab.org/label/releases/hypnobeat-prototech-serlp007

Driven by the common DIY-attitude, James Dean Brown founded Hypnobeat with Pietro Insipido in 1983. Making noise with a Boss DR-55 rhythm machine, 2nd hand gear and household utensils, it was not before JDB’s encounter with Victor Sol and Tobias Freund a year later that Hypnobeat became a proper, fully electronic outfit.

The main goal was to follow a "neo-tribal" approach by reducing electronics to the hypnotic rhythm core. Affected by the emotional impact of polyrhythmic energy, the collective's live sets were often based on machine improvisations. In the studio, machine expert Victor Sol was the one who shifted the Hypnobeat sound to the desired level of technological sophistication.

Apart from a TB-303, the wide range of analog studio/live gear included up to six synchronized rhythm machines – always with a focus on the inimitable sound of the Roland TR-808. Accordingly, Hypnobeat conceived an early form of contemporary club music, somewhere within the scope of classical Electro Funk and prototype Techno, and with a proto-Acid flavour – on "the front-line of sonic innovation before Techno was even a thing."

In 1996, evolving from Hypnobeat, James Dean Brown formed Narcotic Syntax, a project he boosted together with Yapacc in 2003, with releases on Perlon, WIR and Prospector.

And after all, Hypnobeat retransformed from Narcotic Syntax. What was supposed to be a one-off solo live appearance by James Dean Brown at Serendip Festival, Paris in 2012 became the exciting new evolution of Hypnobeat with Helena Hauff joining the project a year later.

The duo's live performances are completely based on improvisation, exhausting the power of an untamed Roland horde which is unique on stage: 1 x TR-707 + 3 x TR-808 + 2x TB-303 + a formidable array of effects = provocative percussion, voodoo passion, tribal ecstasy, hypnodelic temptation, psycho-exotic magic, universal resonance, and a quantum of danger under a crypto-bohemian approach.

Hypnoweb
http://www.hypnobeat.net
Booking
hypnobeat@hypnobeat.net

Past live shows:
•	Festival Serendip, Paris
•	CTM, Berghain, Berlin
•	Grundlos Glücklich, ://about blank, Berlin
•	Les Siestes Électroniques, Toulouse
•	Écoutes au Vert, Motel Campo, Geneva
•	Insomnia, Tromsø, Norway
•	Bleak Future, Petit Bain, Paris
•	SAVE, Moscow
•	Intonal, Malmö, Sweden
•	Rural, Mountain Park Tsunan, Niigata, Japan
•	Krake, Urban Spree, Berlin
•	Arma Labelnight, OHM, Berlin
•	Atonal, Berlin
•	Kaiku, Helsinki
•	Boiler Room, Vienna
•	Dark Entries, Säule/Berghain, Berlin (JDB solo)
•	Mmodemmnight, Frankfurt a.M. (JDB solo)
•	Arma X, Funkhaus, Berlin (JDB solo)

Hypnobeat features:

The whole story
https://www.electronicbeats.net/frankfurt-diy-history
Techno Cadeau (08/2017)
https://web.archive.org/web/20220625101310/https://technocadeau.fr
Resident Advisor (01/2015)
http://www.residentadvisor.net/feature.aspx?2359

Hypnoweb
http://www.hypnobeat.net

Interview with Early Reflections, Paris (03/2023)
https://early-reflections.com/mixes/james-dean-brown

Interview with Fabric. London (03/2013)
www.fabriclondon.com/blog/view/in-conversation-with-james-dean-brown

www.empire-of-passion.com

Hypnobeat - The Arumbaya Fetish (1984)

High quality FLAC and MP3 available from https://noisemanifesto.bandcamp.com/track/gegen

Artwork by Nina Reisinger at superfutura.com

Paula Temple - Gegen

http://www.deejay.de/ANDROIDREC011_-_Dorian_Gray_-_Nyctophilia_Ep_-_Vinyl__174429

http://www.decks.de/t/dorian_gray-nyctophilia_ep/c4x-0g

http://www.juno.co.uk/products/dorian-gray-nyctophilia-ep/566081-01/

Dorian Gray - Nyctophilism (Rraph Remix) [Android Muziq] 12" vinyl

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

Power Of Lust

1088x

SNTS

ES19.1

A different take on one of my favourite tracks from the two italian masters. Enjoy !

Voices From The Lake - Sentiero (iashyn Rework)

Oldschool acid monster! Steve Parker - An artist driven by consistence. vision and passion. Releases on Cocoon. Planet Rhythm. Synewave or Ovum showed his incredible sense to produce outside the box - instead of following musical trends. No more words! Just listen. Outstanding coverprint. shrinked and DJ friendly 140g pressing. Mastering and Cut by CGB at Dubplates and Mastering. Artwork by Markus Suckut and Cover Picture by Salar Kheradpejouh. Manufactured by MATTER OF FACT.
All written and produced by Steve Parker.
Mastering and lacquer cut by CGB @ Dubplates and Mastering - D&M Berlin. 

DECKS: https://www.decks.de/track/steve_parker-acid_machine/ccu-v0
BANDCAMP: https://oddeven909.bandcamp.com/
BEATPORT: www.beatport.com/label/odd-even/43372 
YOUTUBE: www.youtube.com/channel/UCO7UjwADC8sRPl_OOPup8hQ

Manufactured by MATTER OF FACT ñ www.matteroffact.de
Published by Copyright Control.
Photography by Salar Kheradpejouh - www.theghostofsalar.com
Artwork by Markus Suckut. ALL rights reserved.

B2 Steve Parker - Horns Of Jupiter

A2 Steve Parker - Planet E

HATE premiere.

Support the label, preorder/infos here:
https://www.readymadedistribution.com/
https://soundcloud.com/bitelabel

Artist: NX1
Title: BITE04
Label: BITE
Catalogue: BITE04
Format: 12" Vinyl
Genre: Electronic
Style: Techno
Release date: 27th of August 2018

Tracklist:
A1 BT1
B1 BT2
B2 BT3
_______

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www.youtube.com/hate
www.facebook.com/hatecollective/
@hate_music
www.instagram.com/hate_collective

DISCLAIMER: All tracks are uploaded in a low quality for promotional purposes only and with buy links to respect label and artists.

BITE04

Premiere: NX1 - BT2 [BITE04]

Glitter

Glitter (Jon Hopkins Remix)

C O S M

C O S M (Daniel Avery Remix)

Northern Electronics 48
Anthony Linell – Layers of Reality EP

Mastered by Neel at EnissLab, Rome
Visual by A.L.

http://northernelectronics.bandcamp.com

Anthony Linell – The Levels of Existential Space

Alternative Hypothesis EP

Alternative Hypothesis

https://www.deejay.de/Tommy_Holohan_Skull_Crushing_Techniques_HVN003_Vinyl__326480

Tommy Holohan - The Wheat From The Chaff [HVN003]

In 2016 Lust for Youth released their album 'Compassion'. I did this remix of one of the tracks but it never saw a release so here in May 2019, with their self-titled new album out in two weeks, it is made available as a free digital download.

Mastered by Neel at EnissLab, Rome

Limerence (Anthony Linell Remix)

Lust For Youth - Limerence (Anthony Linell Remix) [Free Download]

Misantropen

Norrländska vemodet

Mount Analogue

Náströnd

Alienation from Self

Pessimist

Bloom

Scandinavian Swords II

Tom himmel

The future:


 30/08 Berlin Atonal w/ Neel & DJ Red (DE) 
31/08 Berlin Atonal LIVE (DE)
06/09 Sejong Theater, Seoul (KR)
06/09 Vurt, Seoul (KR)
12/09 Trädgården closing, Stockholm (SE)
13/09 Magick Bar, Rome (IT)
18/09 Solace, Melbourne (AU)
 19/09 Eucladia x Solace Sydney (AU)
 20/09 At.las, Melbourne (AU)
21/09 Subvert, Adelaide (AU)
11/10 Inkonst, Malmö (AU)
01/11 Under Bron, Stockholm (SE)

Bookings:
booking@northernelectronics.se

The cohesive array of depth charged devices that Anthony Linell has produced is formidable. From his opening statements as Abdulla Rashim on his early label of the same name, right through to his recent work that puts his aliases aside, there is a robust and rigorous intent that compounds the elemental strategies of techno's models to apprehend his singular vision.

Presiding over Stockholm's Northern Electronics label with Varg (Jonas Rönnberg), Linell dispenses with mechanisms of attention on all fronts. Marked by an indefatigable self-reliance, the label presents exactly what it means to display, and no more. Carving an idiosyncratic platform for his music is as great of a warning as there could be that Linell's leveraging little toward the benefit of the audience. By his measure, the familiarity and comfort of contemporary techno is stripped back to its rushing heart, the senses left tailgating the strobe in a fit of intuition over decision. The greater this is exposed the colder it gets, and its in these extremes that Linell's caustic rhythmic precision hits. Live, it comes off as a galvanizing strike from the outside; analysing the room as a DJ, it's a case of being pursued through the dark.

Just as the brevity of Linell's output in the eyes of techno is exalted as it is brought into focus, the background to this blurs as you start to decipher his other projects. Lundin Oil skirts the fringes of noise and experimental music, and in collaboration with Varg as Ulwhednar, this is perhaps even more pronounced.

Purposively ricocheting between the techno world and experimental electronic music, Linell forges a distinct passage that gathers the aesthetically uncompromising motifs and missions from across this spectrum. It's this combination and resolve that's brought Linell to the world's attention, however little that attention has been solicited.