From dark pounding Industrial Techno to melodic House & everything inbetween... :)

Chill - TECHNO   HOUSE✊

Daniel Avery - Magic   Memory [a playlist]

Techno: Dark / Leftfield / Industrial - part 4

Playlist converted by Soundiiz from another music platform ! https://soundiiz.com

triangle pressure

Confess

Words Unspoken, Acts Undone

Rapture

Mesdames et Messieurs, le patron du tout puissant Diynamic label a enfin parlé.

Considéré comme l'un des pionniers dans sa catégorie musicale, Solomun nous a offert son bijou, sa perle de l'été.

Un son cérébral, irréel. Déconnectant, phasant, cette partition menée de manière hors pair vous fera frissonner de la première à la dernière note.

Assurément l'un des sons de l'été, si ce n'est LE son de l'été.

Solomun - Friends

DVS1 - "Black Russian"
KW13 - Klockwork
Release date : 16 July 2014

READ THE FULL ARTICLE : http://www.traxmag.fr/dvs1-black-russian-interview

FULL ARTICLE ON TRAX

DVS1 - Black Russian

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)

Read More on THUMP: http://thump.vice.com/en_ca/track/stephan-bodzin-on-his-nineteen-person-remix-album

@stephanbodzin
@furcoatmusic
@herzblut-recordings

Stephan Bodzin - Singularity (Fur Coat Remix)

Reworking Is Not A Crime

This Song (feat. Andrew Woodhead) (Djedjotronic remix)

http://www.mixmag.net/index.php/read/stephan-bodzin-marc-romboy-adriatique-remix-premieres

Released back in 2006, 'Atlas' has reached its ten year anniversary and what better way to celebrate than with some shiny new remixes? From one duo another, Swiss pair Adriatique have swapped DIYmanic for devilish with their new re-imagining.

They've taken the techno bruiser and turned into a twinkly builder, one that keeps intact all of the components that make the original so good. The colossal main riff is still there, creating a nice amount of dread while tones flutter innocently in the background.



Premiere: Stephan Bodzin & Marc Romboy 'Atlas (Adriatique Remix)

Trst

Shoom

Written produced and mixed by Alessandro Barchitta.
Artwork by Michel Iseneld.
Mastered by Mattias Fridell.

Love and light

Heruka

Feral - Heruka

TRACK 04 ON 'Suicide Estate Antibiotic Armageddon'.
BUY:
https://jkflesh.bandcamp.com/album/suicide-estate-antibiotic-armageddon

Suicide Estate Antibiotic Armageddon

04 STONEYCROFT TOWER

Adding to previous 12“es on Ostgut Ton and his own RK label fellow Neuköllner and Berghain resident Kobosil offers four new uncompromising Techno club tools.

While all cuts on the 105 release share filthy, stone-cold, elemental rhythms – pounding, energetic and hypnotic 4/4 kick drum slaps – the devil is, like with all Kobosil productions, in the aesthetic details. “40000 L” uses gargling synth patterns and howling horns to dramatic effect; “Bei Nacht H (178)” contrasts the kick with a harsh, tinny drumbeat and menacing melody pad, creating a nightmarish vibe.
“Backmask N” on B1 offers heavily alienated vocal samples alongside rave-reminiscing synth stabs and staggered hi-hat percussion. “Derange” closes this four-tracker with grainy drone echoes and throbbing, sizzling synth pulses.

Adding to Kobosil’s full-floor-focussed sonic repertoire 105 shows him from his darkest and most vigorous side yet – this 12“ is a brute, in the most positive sense.

Buy 12"

Kobosil | 40000 L

Having contributed to the final 47 Various Artist EP earlier this year with Ancient Methods, OAKE and Tommy himself, VSK now delivers the third solo EP from 47. 
 
47011 offers up 4 tracks ranging from dusky, ruptured metallic sounds to flat out effective techno, keeping with VSK’s signature combination of sharp sound design with fiercely out there rhythms.

47011

A2 // VSK // UNDER PROCESSING [47011]

Decadent yet Depraved

Slipping Away

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)

New Path (The Remixes)

Substance M (Schwefelgelb Remix)

H+ from R.U.R, release date : September 14th

Much of the album, however, explores lower BPMs- no good story stays the same pace the whole time. From the ambient opening of “Dr. Rossum”, to the OG electro styling of “H+”, to the aptly jacking “Cockring Robot”, the album serves as a haunting time traveling trip temporally and through genres. It rightfully ends with the titular track “R.U.R.”, Djedjotronic’s own vision of the future. There’s something vaguely human about the pumping lead a crushed violin? and paradoxically both a claustrophobic and cavernous quality to the production. “R.U.R.” feels like a battle, and for good reason. The past’s own prophecies of technology ursurping humanity are all but coming true, and this album is Djedjotronic’s call to arms.

Artist: https://soundcloud.com/djedjotronic
https://www.facebook.com/pg/DJEDJOTRONIC/about/?ref=page_internal

Label: https://soundcloud.com/boysnoizerecords
https://www.facebook.com/boysnoizerecords

R.U.R.

Premiere : Djedjotronic - H+ [Boysnoize Records]

Glitter

Glitter (Jon Hopkins Remix)

C O S M

C O S M (Daniel Avery Remix)

Weight Of The Land

Watch the video/stream/download here: https://ffm.to/fallingdownvideo

From the album 'Beneath The Surface' out now on Max Cooper's Mesh Label

Download/Stream/Purchase Vinyl here: http://mesh.lnk.to/BeneathTheSurface

Beneath The Surface

Falling Down

Howl

Walls

Lone - Ambivert Tools Volume Three - 01 Temples

Secret Cinema - Timeless Altitude 2011 EP

GEM008 X1 Secret Cinema - Timeless Altitude (Secret Cinema's 2011 Mix)

Emerald Fluorescents

Fractal Vision

Pessimist

Bloom

The future:

25/07 TBA, USA
26/07 The Great Beyond, MN (US)
01/08 Technoferia, Medellín (CO)
02/08 Tunnel, Pereira, (CO)
09/08 Eden, Stockholm
 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 TBA, Sydney (AU)
 20/09 TBA, Melbourne (AU)
21/09 TBA, 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.