[aggregated data]

LISTEN & SUPPORT : https://krakzh.bandcamp.com/album/breizh-power-vol-4

1.
Catherine Danger - Waiting For A Reverb - 140BPM 04:30
acheter la piste
2.
Domicil - Distorted - 90BPM 05:18
3.
Owghost - Stasis - 93BPM 05:36
4.
Païkan Bleach - Danse S'il Le Faut - 115BPM 04:34
5.
R_XV - Gaslighting - 106BPM 06:30
6.
Carlton - Evo Cloud - 134BPM 05:58
7.
LISA - Shiva, The Destroyer - 101BPM 05:22
8.
440hz - Calling All Breizh Dancers - 124BPM 05:46
9.
Alkini - Ajna Temple - 82BPM 06:06
10.
Sqimer & Schloss - Vertical Draft - 140BPM 07:20
11.
Aval Douar - Haymarket Square - 132BPM 04:50
12.
Ninanina - A Nu - 120BPM 04:02

Shiva, The Destroyer (Out on Krakzh - Breizh Power Vol.4)

Liquid Saturn

@gistrung

From TLPITS01 : Tendrils (i)

The first of three tapes -
‘Tendrils Lurched Purple In The Slush’

twinsystem.bandcamp.com/album/tendrils-i

Artwork by Megan Willis & Lewi Boome.
Mastered by Johnny Arthur.

Out now.

Tendrils (i)

gi - roller

Paul Weck is a vinyl DJ and promoter based in Weimar with roots in Stuttgart. As the co-founder of the Architecture and Music Collective 'Niemandsland' as well as 'X²', he expresses his spatial understanding of musical spaces in his DJ sets, events, and in a theoretical study called 'MUSIC AS SPACE'.


"During my seven-month internship in Brussels, I encountered two new situations: Firstly, I received my first salary, and secondly, I was surrounded by proper record stores in the city where I lived in. These circumstances led to a consistently empty bank account and loads of records that I couldn't even organize in my music discography because I didn't brought my turntables to Brussels. This mix is one of three in which I process my time and the music I discovered while living in a big city for the first time. 

The track selection in this mix is heavily influenced by the incredible Draaimolen set of "Jasss b2b Blawan," which was released during that time and became my most listened set on SoundCloud. I was trying to recreate those outstanding shifts in genres and rhythms without letting individual tracks dominate the set (or me, lol). 

In the end, what sounds so easy through the hands of Blawan and Jasss obviously wasn't that easy because most of the tracks, especially on vinyl with no loop function, sort of ask for an outstanding position and aren't easy to deal with as tools. I did my best to handle those beauties, and I'm honestly really happy that this is the result. I hope my idea comes through. Enjoy!“

"The card you see in the post was my transportation ticket that took me through the city as well as to my favorite record shops. It's an object that reminds me of my time in Brussels and one that I will keep for good memories."

[aggregated data 001] w/ Paul Weck

My connection with music is deeply personal. Music has been with me since childhood, before I began studying instruments and composition. It's evolved into something akin to a diary, a collection of records and artists that resonate with my musical ideas and path.

In the past, my biggest challenge was getting comfortable with the audience and getting people to move. Over the past two years, I've become more drawn to fast-paced and vibrant styles. This shift allows me to freely blend elements from different genres, always with an experimental twist that still works on the dance floor.

I only play music that evokes a certain feeling in me. Mixing isn't just about creating smooth transitions; for me, it's more about how the sound elements and rhythms interact between two or three different tracks. The atmosphere of a track is my main focus, both in production and selection. These are all the elements that make up the "back" of the track – drones, noises, and anything that doesn't strictly follow a rhythm.

This concept of sound design and mixing technique is what I especially want to share with my part of this podcast series.

[aggregated data 002] w/ Marco Maldarella

Approach 1:

If I had to choose a country whose techno I could only listen to, I would probably choose Spain. Even though the decision would be difficult, as it would mean giving up artists like Shed! There is little techno that is as energetic, dynamic, fierce, and passionate, yet so trippy, inviting, and full of groove as Spanish techno. This is the feeling I want to create and convey with the podcast. It makes sense to broaden the focus a bit and mix in material from the UK – you can just hear the industrial revolution, the fiery spirit it reflects. The overarching theme is therefore Spanish techno music, supplemented with music from different parts of the world that, for me, brings a similar vibe.


Approach 2:

For me, the former Berghain system embodies techno music. I wanted to use music that seemed made for this place. The old F1 sound system combined with the unmistakable reverb downstairs has accompanied and shaped me for the past 16 years. If I were to receive an evening slot today, I would play in this direction. This set is, of course, a condensed version, but I think the essence comes across.

Approach 3:
Hardness doesn't come from BPM! For me, there is little straight 4x4 techno above 140 BPM that has enough room to breathe and enough space to really create groove with low-end and syncopation. This is why I rarely play faster than 138 BPM. I find that between 134 and 138, you can draw out an incredible amount of dynamics and tension. The BPM range in this podcast is between 134 and 136, and I feel that the arc of tension works perfectly.


Approach 4:

You often see short clips on social media where people are mixing with 6-8 turntables. That's why I deliberately decided against a third or fourth CDJ/turntable. I wanted to show that if the music is well-produced and has sufficient dynamic range you can create an incredible amount of tension and flow with just two decks.

In this spirit: Less is more... Isn’t that what techno is all about?

Enjoy, and be kind to each other and yourselves!

[aggregated data 003] w/ sr²

Many of my mixes typically balance club/dancefloor goals with sound design, psychedelia, and atonality. That’s a fairly common stated goal for many DJs I follow as well.

Instead, this mix is pure cerebral sonic indulgence. Tracks were chosen for their complementary textures, matching atonal note sequences, and their ability to keep your head dunked under waves of dense sounds. 
Hopefully, it’s trippy, futuristic, and even a little bit stressful. Any dancefloor utility is a bonus.

The accompanying image should evoke a similar feeling: juicy, dense, and otherworldly.

[aggregated data 004] w/ Xen Chron

Take a deep breath and activate the safety valve: this mix is taking you into an intoxicating, murky dance room.

I'm still missing playing in the shadows of the club for dark birds, so this is the ecstatic feeling I’ve been trying to recreate as an outlet—a kind of obsessive intensity, blending bipolar techno, spilling dangerous bass and contagious percussion.
I hope you wig out unscathed.

[aggregated data 005] w/ Joanna OJ

Out now @hundebiss-records
Buy: https://notteinfinita.bandcamp.com/album/manila-killer-float-slippery-ruff

DH010 – Notte Infinita
Manila Killer Float / Slippery Ruff

Two ultra-wet, slippery dancehall mutations, completed during the hottest summer days in a few sweaty sessions at Studio Distante.

Manila Killer Float is an uplifting bubbly dancehall thing with a Vybz Kartel acapella chopped up and sprinkled on top. Tried to fight gravity and catch the last summer breeze with the beat floating on those airy pads – and of course celebrating the release from prison of the World Boss.

Slippery Ruff is the chugger-town cousin of Slippery Tuff, from INDEX:records EP I Lost All My Data. I took the bpm down from 120 to 90 and ruff‘d it up with some extra dust and bass weight for good measure.

_

Written and produced by Giovanni Bonelli at Studio Distante, Berlin (2024)
Mastered by James Ginzburg
Artwork by Francesco Goats 
credits
released October 4, 2024

Manila Killer Float / Slippery Ruff [Hundebiss Records] (Previews)

traverse is proud to announce the release of its first record - a compilation of six tracks from various artists, inspired by Pembroke King’s poem moving silhouettes, written for this occasion.

As the fourth volume of the compilation series “traversée”, moving silhouettes encourages artists to explore all corners of listening music and creative avenues that aren’t tied to any one convention. 

Pembroke King’s poem sheds light on the mood of the compilation, and even though each artist brings its own interpretation of it, there is a beautiful harmony of it all - from Kate Miller’s atmospheric sounds to Teqmun’s drums-made-of-rain-drop-recordings or Ghjuliú’s nostalgic melodies, the listener travels around Pembroke’s words with each track. 

As our first physical release, we feel honoured to collaborate with artists who have been involved in a way or another on traverse before such as Officium, Mika Oki and Alohn, but Kate Miller, Teqmun, and Ghjuliú, that we’ve been keeping close to our heart for a long time already. 

artwork: Gabriel Sauvageot 
tracks produced and mixed by (in order of appearance): Alexis Tytelman, Tijmen Blokzijl, Alban Mercier and Yolek, Kate Miller, Ghjuliú, Mika Oki
mastered & cut: Marco Pellegrini at Analogcut
digital master: Umvral
distribution: Kuroneko

Preorder

Kate Miller - Fenced Fringes (snippet)

dragongirl (@dragong1rl)
she / they
📍: Copenhagen / Denmark

https://www.instagram.com/xdragongirl/

TM8 Q: Best music video??
A: "favourites is so hard i think, i can never choose just one hehe. but i think all of FKA Twigs videos are amazing. and Shakira also has some iconic videos, especially She Wolf is great. and ofc Telephone by Lady Gaga and Beyonce!!"

✦•······················•✦•······················•✦

Composer, producer, and DJ dragongirl has recorded a mix for us featuring some of her own tracks too. Having released her critically acclaimed debut album 'hot blue' on the Norwegian label Sheep Chase Records in 2023, dragongirl has since brought her vibrant sound to some of Northern Europe's most well-known clubs and festivals including Denmark's Den Anden Side, Berlin's OST and OXI, and Kaleido Festival. Her sets blend trance, techno and happy hardcore with influences from Eurodance, gabber and EDM, inviting her audience on a playful and unexpected adventure. And that's exactly what dragongirl mirrors in this week's mix. 

♬: @stinny-stone @zzzorza @promis3 @canelledoublekick @nenetreat & more

dragongirl •󠁏 tm8#71

.°˖⋆ ℧ 𓃗 .°˖⋆ 𝑔ᵢ𝓭𝓭ᵧ₋ᵤₚ ₛᵤₘₘₑᵣ

wₒᵣd ₒf cₒₘₘₐₙd ⚜️ NTS 28.05.25

Clutcher is a double single that pulls you into deep downtempo vibes, thick basslines, sharp vocals, and a raw ghetto feel.

Produced in spring 2025.

released June 5, 2025

Artwork by Kryštof Vaculík
Mix/Master by máúcta

Clutcher

Sevyn0000’s (@sevyn0000) set from our FOLD event in May is now available to listen back to in full. The New York-based producer and DJ shared a textured set with us that night, layered with psychedelic rhythms, spacious sound design and crunchy percussion. From the glitchy intro to the shadowy final track, we were hooked.

tm8.live •󠁏 Sevyn0000 •󠁏 31.05.25

voices DTG

Exploring the spectrum of possibilities.

http://augmentedresearch.bandcamp.com

Send demos to the SoundCloud inbox.

[aggregated data 002] w/ Marco Maldarella

Augmented Research

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