I still remember how hard this track slapped when I was 15 years old ^^ and it still does

Daniel Avery - Magic   Memory [a playlist]

Bandcamp NRDR

Quelza - Particle Of Sand [ NRDR117 ]

Our label turns four today. We are delighted to present the newest compilation Y002 including twelve tracks mixed and selected by our dear Viels.
All the single tracks and the continuous dj mix will be available soon on a double CD and digital format.
Including tracks from Quan, Na Nich, Ruhig, Brendon Moeller, Particle, Lõn, Viels, Mersel, A.Brehme, Yogg, Mike Davis (DE), Głós.
Links:
Formaviva: formaviva.com/end-of-perception
Bandcamp: endofperception.bandcamp.com/
FB: www.facebook.com/endofperception
RA: ra.co/labels/15760

Y002

The Grand Tour

A. Brehme - The Grand Tour

Nekhu Junah

Viels - Nekhu Junah

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)

HATE exclusive premiere.
Full streaming of the EP soon on our HATE YouTube channel.

Support the label, buy it here:
https://semanticarecords.bandcamp.com/

Artist: Ana Rs
Title: In The Warmth Of The Red Lights EP
Label: Art of Fact
Catalogue: Semantica Records 
Format: Digital
Genre: Electronic
Style: Techno
Release date: June 7, 2024

Follow #AnaRs here:
https://soundcloud.com/ana25062
https://www.instagram.com/anars_____/
https://www.facebook.com/AnaRs.techno

Follow #SemanticaRecords here:
https://soundcloud.com/semantica-records
https://www.facebook.com/SemanticaRecords

Tracklist:
1. Deprived
2. Drowning 
3. The Warmth Of The Red Lights
4. Tell Me If I Am Wrong 
5. Reverie 
6. Invisible Light

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

CONTACT EMAIL: hatemusic1@gmail.com

Follow us on INSTAGRAM and FACEBOOK for releases previews and news:
https://www.instagram.com/hate_collective
https://www.facebook.com/hatecollective/

Follow us on SOUNDCLOUD for exclusive podcast series:
https://soundcloud.com/hate_music

In The Warmth Of The Red Lights EP

Drowning

Premiere: Ana Rs - Drowning [SEMANTICA171]

Powerful track “Call:112” by Adrian.L in dance/tech house style. Intense energy for DJs, sound explorers, and party animals!

强劲的曲目《Call:112》，由Adrian.L演绎，舞曲/Tech House风格。为DJ、声音探索者和派对爱好者带来强烈能量！

शक्तिशाली ट्रैक “Call:112” एड्रियन.एल द्वारा डांस/टेक हाउस शैली में। डीजे, साउंड एक्सप्लोरर और पार्टी प्रेमियों के लिए तीव्र ऊर्जा!

المسار القوي “Call:112” من Adrian.L بأسلوب الرقص/التك هاوس. طاقة مكثفة للدي جيز ومستكشفي الصوت ومحبي الحفلات!

Faixa poderosa “Call:112” de Adrian.L em estilo dance/tech house. Energia intensa para DJs, exploradores sonoros e festeiros!

Мощный трек “Call:112” от Adrian.L в стиле dance/tech house. Интенсивная энергия для диджеев, исследователей звука и любителей вечеринок!

Poderosa faixa “Call:112” de Adrian.L no estilo dance/tech house. Energia intensa para DJs, exploradores de som e festeiros!

強力なトラック「Call:112」Adrian.Lによるダンス/テックハウススタイル。DJ、サウンド探検者、パーティー愛好者に強烈なエネルギーを！

강렬한 트랙 “Call:112” Adrian.L의 댄스/테크 하우스 스타일. DJ, 사운드 탐험가, 파티 애호가들을 위한 폭발적인 에너지!

Brano potente “Call:112” di Adrian.L in stile dance/tech house. Energia intensa per DJ, esploratori del suono e amanti delle feste!

Call:112

The color of sound. The color of life. The color of love.

The Color Of Life [Original Mix] [FREE DL]

High voltage on the floor ⚡
The Transmission EP delivers pure club energy - three tracks built for the dark, strobe-lit moments before the drop.
Feel the signal. Move with the sound.

Buy on Bandcamp

Phase

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)

Support the label and buy RITMO EP digital here: 
https://danzatribale.bandcamp.com

RITMO EP_ ADIEL
A1. Tribale
A2. Vibra
B1. Ritmo
B2. Melodica

All tracks written and produced by Adiel
Mastered at Enisslab Studio by Giuseppe Tillieci
Artwork by Koto Hirai
www.newsdistribution.be
Cat. no. DNZT003 – 
all rights reserved ℗ & © Danza Tribale 2018

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