@ LAst

Snow (feat. ϟHØØTΣR)

@krisbaha
@boysnoize
@stevenaclark

Get it here:
Smart-Url: http://smarturl.it/BNKR

Beatport: http://smarturl.it/bpKillerR
Spotify: http://smarturl.it/spKillerR
iTunes: http://smarturl.it/itKillerR
GooglePlay: http://smarturl.it/gpKillerR 
Amazon: http://smarturl.it/amKillerR

Boys Noize - Killer (KRIS BAHA REMIX).WAV

Mixed Personalities

Limited Edition Double Vinyl.
Includes Knock Out, My Time Here, It's Bright Out & Typeface 333.
Also Knock Out (Jensen Interceptor Remix), My Time Here (Happa & Jabes Remix), It's Bright Out (Sync 24 Remix) & Typeface 333 (Volruptus Remix).

96 Back - Issue In Surreal - Remixes

What a year! 
Much love and a big thank you to our whole Beschäftigungstherapie family for making the last 12 months possible. 
Also a big thank you to all the dancers who rode with me into the sunset on what was probably the last summer day of the year. 
Can't wait to see you all at our next party on November 8th at Beate Uwe!

Chris Plettenberg | Sundowner | Beschäftigungstherapie Sommerfestival 2019

Calum Gunn has spent the past few years becoming a key figure in the European electronic avant-garde. As well as releasing his own music through labels like Entr’acte, FLUF and Tsuku Boshi, the Berlin-based Gunn also helms Conditional Records, one of the most forward-thinking computer-music imprints to emerge in recent times.

Gunn’s Addenda EP, his debut drop for Central Processing Unit, contains some of his most dynamic work to date. While his commitment to experimentalism remains, these four tracks represent a clear shift in focus for Gunn - namely that, for perhaps the first time in his career, he is making music that is club-friendly. A whole host of dancefloor innovators are recalled when listening to Addenda - particularly Autechre, Analord-era AFX and several of Mark Pritchard’s projects as well as Gunn’s contemporaries Rian Treanor and Renick Bell.

These tracks never sit still, their rhythms constantly evolving and turning themselves over. Addenda’s first two cuts use metronomic hi-hats to keep these ever-changing grooves in check. With its thwacking kicks and snares, opener ‘Esephony’ enters the fray with the heft of an early Wiley riddim. Atop these drums we find squeaky half-melodies interlocking and breaking apart, meaning that the overall effect is not dissimilar to the tweaking beats that Pritchard came up with as part of Africa Hitech. ‘Esephony’ is followed by ‘Moebu’, another track that harks to grime through its fluttering lead synth. The way that this single-note line snakes above a slow, steady drum pulse pitches ‘Moebu’ halfway between Last Japan and rRoxymore.

Gunn increases the tempo in Addenda’s second half. ‘Ternenmarz’ introduces itself with more blarts of bass, but whereas these were steady on ‘Esephony’ they now jump around unexpectedly. Gunn holds the erratic kicks in place with twittering hats and snares - indeed, when you factor in its gnarly synth lines, ‘Ternenmarz’ steers closer than any other cut here to the high-grade electro drops that CPU has made its name with. Closer ‘Pins’ supercharges the snap of ‘Esephony’ to 145 bpm before Gunn softens up the track with reverb-drenched synths that nod to the sombre post-grime of Mr. Mitch’s Gobstopper Records.

With the Addenda EP, Calum Gunn has achieved something that proves elusive to so many producers - making club tracks that are at once innovative and immediate, their experimental tendencies serving to elevate their dancefloor impact.

RIYL: Rian Treanor, Africa Hitech, Autechre, Renick Bell, Brainwaltzera

Addenda

Calum Gunn - Addenda

Furor im Hexenhaus 

Eine weitere Party Nacht geht in die Annalen von Konception ein. Nico Tober & Case eröffnen den Abend mit einem ausgedehnten B2B Set. Die beiden Weihnachtswichtel strotzen nur so vor Motivation und beginnen sich langsam aber sicher warm zu spielen. 
Zu Anfang ist der Sound melodisch, zärtlich kombiniert mit einem treibenden Grundrhythmus. Nach dem ersten Drittel wird es immer technoider und mündet unausweichlich in einem episch anmutenden Techno-Inferno.
Mit vereinten Kräften bringen sie sowohl die tanzende Menge, als auch das Hexenhaus in rot-glühende Wallungen. 
Drei Stunden lang währt dieser liebevolle Schlagabtausch, mit vorzüglichen Exemplaren aus dem elektronischen Musikkosmos.

Mit diesem Set schließen wir endgültig das Kapitel 2019 ab. Danke für alles und bis bald <3

Artwork 
✨ @finnsn

More info :
✨Nico Tober
SC: https://soundcloud.com/nico-tober

✨ Case
SC: https://soundcloud.com/casechamber

✨KataHaifisch
SC: @katahaifisch

Free Download✨

Nico Tober b2b Case - Furor im Hexenhaus

Longtime fans of Sheffield’s Central Processing Unit may well remember Annie Hall. When CPU dropped her 2016 EP Tenured Positions it felt like a perfect union of label and artist - the atmospheric take on classic electro that Annie Hall had presented in her previous releases for labels such as Semantica and Detroit Underground was very much in sync with the CPU sound. Sure enough, Tenured Positions was an instant hit with CPU heads old and new, and the record remains highly sought-after to this day.

Now, four years on from Tenured Positions, the Barcelona-based Annie Hall returns to CPSmith’s imprint with new EP Fum. Fum picks up where Tenured Positions left off. Snapping broken-beat electro grooves anchor Fum’s midsection of ‘D’un Altre Planeta’ and its title-track. ‘D’un Altre Planeta’ is the most lively cut on the EP - there is real bite to the drums here which recalls everything from B12 to Star Eyes to early-90s hardcore - while ‘Fum’s beats are more low-slung and come bolstered by an electro-funk-flavoured bassline. These two tracks are bookended by ‘Verd Mar’ and ‘Promeses De Fusta’, joints which straighten out their rhythms into more linear IDM-techno beats.

As she exhibited on Tenured Positions, one of the main strengths of Annie Hall’s style is the manner in which she layers up harmony, tone and texture. Reverb- and delay-drenched synths cascade across Annie Hall’s tracks and serve to render her music in vivid colour. The combination of evocative atmospherics and grounded, stable beatwork is a technique which Annie Hall has inherited from experimental techno luminaries of the past - Autechre, Mark Bell, The Orb - and also something that she shares with other CPU artists like Tryphème and Nadia Struiwigh.

Annie Hall takes this approach once again on Fum. A fair bit of the record’s soundworld tends towards science-fiction - from the whooshing pads of ‘Verd Mar’ through the zipping synths of ‘D’un Altre Planeta’ and on to the B-movie keys of ‘Promeses De Fusta’ there is certainly an alien quality to much of this EP. However, Annie Hall is also sure to ground her astral musings by introducing softer synth sounds like the twinkling chimes in the background of ‘Fum’ and the gently lilting lead-line of ‘Verd Mar’.

For fans of Central Processing Unit, Annie Hall’s Fum is the best of both worlds. Here we have a record which brings together the roughneck electro snap of CPU’s club weapons with the melodic and textural deftness of its IDM-oriented releases.

RIYL: LFO, Tryphème, André Bratten, Biosphere, Autechre, Nadia Struiwigh

Annie Hall - Fum

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Melodik Session 84 - ECKRT

Who is Bit Folder? There have been whispers about the identity of Central Processing Unit's latest signing, and many theories have been presented as to who's behind the project. Some say it's a young upstart fresh on the scene, others insist that this is the work of an old head. Either way, initial investigations have proven inconclusive, and the Bit Folder project remains shrouded in mystery.

There may be a way to untangle the Bit Folder riddle through listening to the artist's new EP Silicon Frontier. There is classic early Warp in here, a dash of Rephlex too. More contemporary styles also come to mind - FireScope, the label helmed by B12's Steven Rutter, and Analogical Force are two of the imprints recalled, and Bit Folder also shares some space with fellow CPU artists Datassette, Noumen and the aforementioned B12.

What's for sure is that Silicon Frontier is a futuro-rave adventure that conjures up the brave new world hinted at by its title. Like the classic 90s techno/IDM that it channels, this record gleams with the sounds of the android future. Keyboards glisten and shimmer, their tones at once stargazing and hallucinogenic; hi-hats open and close like steam valves; synth lines move in and out of each other to create all these lovely little cells of melody. Some tracks even play with tempo itself, beats glitching or slowing down completely as if you've just dropped a dose of (electro-)soma, but Bit Folder always manages to snap them back into place just as they seem to be breaking apart. For an artist's debut release it is very deft production - but then again, could it be that we've heard from Bit Folder before?

Silicon Frontier kicks off with 'Youka', a 150-bpm IDM-techno number that squiggles and squirms like AFX in Analord mode. The title-track follows, its beautiful opening zooming out into a unique melange of wobbling bass and final-frontier keyboards. 'The Tritan Cord' pushes us further out into deep space - there's something very Drexciyan about this track, though rather than pure revivalism 'The Tritan Cord' in fact displays the kind of dense worldbuilding we see in the work of Gerald Donald and James Stinson, its dinky synth lines and whirring drums sliding and out of one another to create a cinematic dancefloor trip. Silicon Frontier closes out with 'Legs Akimbo', a speedy number that injects those same chirruping drums/synths with the playful energy of DMX Krew and Squarepusher.

Even while it channels the sounds of some of electro's most important sites - Detroit, London, CPU's native Sheffield - Bit Folder's debut EP Silicon Frontier still manages to sound fresh and new. Now, if only there was some way to discern the man behind the mask…

RIYL: B12, DMX Krew, Datassette, D'Arcangelo, James Shinra

Silicon Frontier

Bit Folder - Silicon Frontier

The union of Bochum Welt and Central Processing Unit makes perfect sense. Here we have a principal figure from IDM’s 90s heyday linking up with an imprint that has brought the sound and spirit of Rephlex Records into the modern day. As such, it is unsurprising that Bochum Welt’s label debut, the 2019 LP Seafire, has quickly become one of the most vaunted releases in CPU’s extensive catalogue.

A few months on from the release of Seafire, the Italian artist returns to the Sheffield imprint with Seafire Remixes. As well as a pair of new versions from Bochum Welt himself, this five-track set also contains a trio of tunes which rewire Seafire originals - one remix apiece from EOD, James Zabiela and Telefon Tel Aviv.

One can think of Seafire Remixes as chronicling a night at the club in reverse - at least until its final track. ‘More Light (Radio Edit)’ and ‘G1 (Ambient Mix)’, the two Bochum Welt originals which kick things off, maintain the heady glow of Seafire. Both are lovely, wistful lilts, full of gently-pattering drums, pluming synths and keening keyboards. They recall the most cerebral end of Boards Of Canada’s output, flushing you with the warm afterglow of the party as you begin to bed down, dawn just starting to break through the window.

If these opening jams represent the night drawing to a close, the mid-section of Seafire Remixes rewinds to the thrill of the dance. bbbbbb recors mischief-maker EOD and British dancefloor veteran James Zabiela both tackle ‘More Light’ on their remixes, and each producer makes the same decision to gee-up the track with drums. The former’s version plumbs a load of IDM-techno beats into the floaty-light original to give it a buoyant positivity not dissimilar to Andrew Weatherall (RIP). Meanwhile Zabiela’s snapping broken-beat electro rework is pure peaktime euphoria, with 303s squirming gleefully under clattering drums and a needle-gun bassline. It’s a distillation in sound of some of the very best aspects of dance music culture - rhythm, communality, utopia.

Telefon Tel Aviv’s reworking of Seafire’s ‘Color Me’ ends this otherwise-uplifting EP on a more pensive note. Unsurprisingly given the pedigree of the artist, Telefon Tel Aviv’s ‘Color Me’ flip is the most leftfield production on Seafire Remixes. Eerie, spectral synths clatter and churn away atop skittering drums which have a ghost of trap about them. This heady fug sounds very much like the morning after the night before, with Gold Panda, Teebs and TOKiMONSTA all recalled. 

Covering a large amount of sonic terrain - electro, IDM, techno, abstract hip-hop, ambient music - Bochum Welt’s Seafire Remixes EP is simultaneously one of the most stylistically diverse and most aesthetically unified Central Processing Unit releases to date.

Tracklist
A1 - More Light (Radio Edit)
A2 - G1 (Ambient Mix)
A3 - More Light (EOD Mix)
B1 - More Light (James Zabiela Remix)
B2 - Color Me (Telefon Tel Aviv Remix)

RIYL: Daniel Avery, AFX, Boards Of Canada, Autechre

Seafire Remixes

Bochum Welt - Seafire Remixes

Two years after debuting on Central Processing Unit with the acclaimed Aftrmth EP, Nullptr returns to the Sheffield label for the release of new full-length album Future World. Nullptr has created a set of perpetual-motion marvels here, wind-’em-up-and-watch-’em-go electro tunes in which synth lines and 808s weave dexterously in and out of one another to form these lovely interlocking patterns.

Many of the tracks on Future World are anchored by needlegun grooves in the Drexciyan mode. The album’s opening number ‘Arrowhead’, an eerie dystopian-electro take, sets the scene in this regard, and cuts like ‘Cytron’ and ‘Phantom Cell’ also have a rugged bump to their low-end - particularly the latter, which features a deliciously nasty bassline drop about halfway in.

While busybody drum programming persists throughout the album, Nullptr’s fondness for washed-out pads means that Future World also provides the listener with space for contemplation. Third track ‘Sweet Luna’ may be robust enough to do damage on the dancefloor, but its deep chords and relatively muted bassline also push it in the direction of 90s electronica and IDM-techno. ‘Sweet Luna’ opens the door for many of the subsequent numbers to balance driving beats with wistful textures, and while electro remains Future World’s core style the harsh sound of machine-funk is softened throughout by these warm synth tones.

Rather than playing it safe within the genre’s familiar confines, Nullptr instead uses electro as a base from which to incorporate other sounds throughout Future World. ‘Wave Cannon’s bleep-bloop modulars and twittering hi-hats are pure robo-funk, but the track’s jumpy bassline shows off a sense of adventure derived from braindance. There is also the ghost of a breakbeat in Nullptr’s snare programming here, something which lurks in the back of ‘Arvanche’ later in the tracklisting. Meanwhile the uptempo ‘Bit Device’ pushes through to the ruminative techno of Virginia’s early Ostgut Ton releases.

Nullptr throws us another curveball in Future World’s home straight. The album’s title-track closes the record out, and it’s a cut which takes us deeper than anything that’s come previously. Here Nullptr both lowers the tempo and also does away with drums, leaving the listener with little more than some hanging-garden synth pads and pregnant bassline. It proves to be a hugely atmospheric coda for this delightful album.

RIYL: Jensen Interceptor, Assembler Code, The Exaltics, Drexciya

A1 - Arrowhead 5:08
A2 - Wave Cannon 5:23
B1 - Sweet Luna 4:38
B2 - Bit Device 4:03
B3 - Cytron 3:39
C1 - Phantom Cell 5:46
C2 - Arvanche 5:22
D1 - Hakusan 4:08
D2 - Chiron 5:00
D3 - Future World 4:09

Future World

NULLPTR - Future World

MANU STRASSE @ Studio76 Podcast

Central Processing Unit, commonly referred to as CPU Records, is an independent British record label, founded in Sheffield in 2012, specialising in electronic music.

Distributed by Kudos Records London UK.

We are not currently seeking unsolicited demos. Due to the volume of digital submissions, it is impossible to listen and respond to each one.

NULLPTR - Future World

CPU RECORDS