Renegade Techno Traxx

Bonjour! For FOA095 we welcome back hit producer Space 92 to Filth on Acid, bringing his filthiest Game yet. With these 3 rockets blasting through the speakers we are sure to Populate Mars during the trip. So once again buckle up, enjoy the acid. This is Filth on Acid NOW!

Delivered by <a href='http://www.label-worx.com'>Label Worx</a> on behalf of <a href='http://www.filthonacid.com'>Filth on Acid</a>

Space 92 - The Game

Feiern

Feiern (Original Mix)

Belgium's sweethearts Joyhauser are back on Terminal M with another great 3 track ep! Lamana's pulsating acidline plus a warm melodie with an array of layers are definitely working well on the dancefloor! Vesperi impresses with a dark atmosphere which is perfect for the more soulful moments ! Lyseric Acid is a great pumping track where the combimation of darkness and some vocals puts you in another state of mind. (Monika Kruse)

beatport/spotify/vinyl

Joyhauser – Vesperi

Dystopia

Rebūke - Dystopia - Drumcode - DC263

First Time in Space

Lilly Palmer - First Time in Space - Drumcode DC269

Resonate

Lilly Palmer - Resonate - Drumcode DC269

DIE MAN  [DemoPreview] (FREE DOWNLOAD)

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

Support the label, buy it here:
https://breakthrough.primal-instinct.net/

Breakthrough opens a new chapter for Primal Instinct. After nine releases built around our stickman tribe, this EP is the first in a new visual era where each cover is sourced from the open archive of Wikipedia and subtly reworked. Choosing these images is not aesthetic coincidence but a statement: if the label is about the human condition, then it makes sense to dig into one of the biggest, most accessible repositories of our collective memory. For breakthrough, a karateka high-kicking a punching ball becomes the perfect symbol: direct, physical, and aimed at breaking through limits—of self, of sound, of format.

Artist: Chlär
Title: Breakthrough
Label: Primal Instinct Rec.
Catalogue: PI010
Format: 12" Vinyl
Genre: Electronic
Style: #Techno
Release date: December 12, 2025

Mastering by Charles Accarisi
Artwork based on an idea by Cardle Design, made by Robert Radziejewski

Follow #Chlär here:
https://soundcloud.com/chlaer
https://www.instagram.com/chlaer_/
https://www.facebook.com/chlaermusic/
https://ra.co/dj/chlar

Follow #PrimalInstinct Rec. here:
https://soundcloud.com/primalinstinctrecords
https://www.instagram.com/primalinstinct.rec/

Tracklist:
A1. Close Contract
A2. Pressure Point
B1. Anaerobic
B2. Volte Face
B3. No Ceilings








___
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

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Breakthrough

No Ceiling

Premiere: Chlär — No Ceiling [PI010]

Drumcode returns with its 6th installment of the internationally celebrated A-Sides series. Renowned for fostering a shared space between industry tastemakers and rising talent alike, the careful curation that goes into each volume is a fine example of why Beyer’s brand continues to go from strength to strength.

Techno titan Adam Beyer has grown Drumcode into a force to be reckoned with; the label has become synonymous with forward-thinking, functional techno and even after 20 years, Drumcode continues to find new boundaries to push, and ways to solidify its legacy as the world’s number one techno label. 

2017 is no exception, with Beyer’s imprint hosting it’s first stage at Tomorrowland, not to mention the expansion of the critically acclaimed Junction 2 where the Drumcode stage is the centrepiece and Adam plays the key role of festival director. The Drumcode phenomenon continues to grow each week, chiefly fuelled by Drumcode Radio, Adam’s radio show that’s broadcast in 57 countries via 86 stations and to a global audience of 16 million techno fans per week. 

The A-Sides series acts as a perfect vignette of Drumcode’s cutting-edge sound; functional yet inspired techno, all tracks tried and tested by Beyer himself. Vol. 6 continues this tradition with a collection of 16 multi-faceted cuts from a mixture of both emerging artists and experienced label friends. 

The heart-throbbing bass in Amelie Lens’ electrifying piece ‘In Silence’ sets the tone for the dark and dance-floor-ready energy that Vol.6 carries the whole way through. Other standouts include Mars Bill’s rough’n’ready ‘Mohave’. Pulsating and precise, ‘Mohave’ has highlighted many of Beyer’s sets recently as has Wehbba’s monster track ‘Fake’, which fans have been anticipating the release of all year. 

Label-favourites Dense & Pika also feature on ‘A-Sides’ Vol. 6 with their hard-hitting ‘Just a Beat’ and a huge track from Beyer himself who has joined forces with Enrico Sangiuliano to bring us their undeniably infectious ‘Preset Heaven’. 

With many more notable selections from the likes of Julian Jewell, Timmo, Tiger Stripes and Pig&Dan, A-Sides Vol. 6 is another impressive addition to the label’s prolific release roster and a testament to why Drumcode remains at the forefront of the electronic world.

Amelie Lens - In Silence - Drumcode - DC178

Turbo 50
Tiga & Zyntherius
Sunglasses at Night Remixes

In Tiga’s Words:

Luck is everything, and it only takes an instant for your life to become your dreams. The fact that my life was changed, altered, and ultimately bettered by covering an MOR Canadian rockers 80's pop tune is a quirk of destiny that gives me faith in the magical comedy that we call existence. This is the short story of how the shit went down.

It was the winter of my discontent. I was supposed to travel to India with my family for Christmas 2000, but was unable to go for personal reasons. Upset but determined to make the most of the situation I invited Jori Hulkkonen to DJ with me at my club (SONA) for a NYE party. Jori had done a
mixCD for Turbo and we had cultivated a fine friendship based on ridicule, shared 80's obsessions and ridicule. I had a small home studio that was gathering dust and producing nothing more than frustration; and I threw out the idea (I think I did, although maybe he did) of "making some tracks". I didn't know what I was talking about.  My own creative career had followed a typical early 90's trajectory: houseclubs-ectasy-techno-rave-DJ-travel-raver-promoter-radio-recordstore-nightclub impresario etc... all successful ventures that, at the turn of the
millennium, had led me to a position of relative affluence and respect. But the elusive jewel in the crown was production; and this block  was slowly destroying me. Then came the J-fool.

My memory is bad. In school it was perfect, but it's been eroded by a potent cocktail of reefer, airports, timezones, sleeplessness, computers and time. Now, my memory is not to be trusted. I'll try my best: i think the show went ok. Jori probably played a few records I loved, and a lot that iI hated. It was very cold. New Years Day came, I think he was sleeping at my place. I had an MPC, a Nord Modular. an 808 and a JUNO, and a puppy named Uma. Recently, at a small record store in Calgary of all places, I had bought a copy of 'Sweet Dreams' by Miss Kittin & The Hacker. I thought it was incredible. It's hard to imagine now, but at the time the idea of covering a pop song in a techno style seemed interesting. This is before the world went crazy and eclectic. So we decided to try a cover.

I don't remember details of the day. I had no intention of "singing" but I couldn't really do anything else, so that became my job. I also had to walk Uma, make tea, take phone calls, make jokes. Jori did most of the work. We tried a criminally poor cover of "When Doves Cry" which thankfully is lost
to all mankind. We did a version of "Small Town Boy" with falsetto singing so bad that if you could distill the sound into a liquid it would be the pure essense of "embarrassing". We did a midi-file based cover of New Years Day, which I still love, that came out on an old Turbo comp. And then (I think it was last) we did Sunglasses At Night. Corey Hart was a Montrealer, it seemed fitting. Our lack of sample memory in the MPC combined with my hesitancy to sing complex notes (or ANY notes for that matter) is what resulted in the "genius" of eliminating the bridge and pre-chorus. I remember Jori thought it was amazing. I didn't really like it. Score one for Zyntherius.

I remember going to my record store , DNA, which was just on the corner and playing it: the first of hundreds of "listen to my new track" sessions..... my first taste of the cold sweat of public testing, and the sheer horror of hearing MY voice on speakers. I hated it.

A few months before that day in studio i had done a mixCD called Mixed Emotions, which is still one of the best things I have ever done: it featured an "electro-funk" cd and my face on the cover. Both attracted the attention of DJ Hell in Munich, who of course at the time was a hero of mine. I had a contact thru licensing a song from them, so I think I sent him the sunglasses demo. He fell in love as well. I still didn't like it.

The rest of the story is like a montage in a movie, albeit a small film, Hell came to montreal, burned dubplates, played 6 times at Love Parade,  SAN got huge in germany, , ended up selling a quarter million, doing TOTP,  and being one of the big "electro" anthems of the period. I got to ride my own
coatails  all the way to where i am now. All my dreams came true, including the one about being voted #41 on the DJ top 100 list.

I still marvel at how easily it could’ve NOT happened: My dog stepping on the power switch a little earlier, or Jori getting tired, or the phone ringing at the wrong time. And I cant help but wonder how different my life would have been. While I was never a huge fan of the record I will say that
it was a very pure creative effort, in its own way a real punk track: two friends making something without any label or plans or scene......and crucially without any expectations. To spend 90 minutes on that, in a vacuum, and to then feel your entire life altered by the results.... that
is the magic of pop culture, and testimony to the awesome transformative power of ....... the Roland Juno-60.

Love from Montreal, and love to Jori Z and a special shout out to Hell and Josef.

In Zyntherius’ words:

When I was a child I dreamt about being a god.
When I grew up I realized I could become one.
In 2000 I noticed that the post for the god of synthesizers was not taken. I didn't even have to apply for the job. No real god would have to do that. I just declared myself as ZYNTHERIUS - the god of synthesizers.
Nowadays I'm feeling much better, but occasionally I still get the urge.
Which is why you should be aware of the wrath of Z and respect the holy Oscillators.


Sunclasses at Night Remixes

Tiga & Zyntherius - Sunglasses At Night (Original 12  Version)

Human Race

Take a Walk (Original Mix)

Trommelmaschine
Re-constructed version taken from the 25 years anniversary album D3R-25 EINS.
Released Dec 12th 2017 on Harthouse.
HHMA 0724
The original mix came out 1997 on Harthouse Frankfurt.

D3R-25 Eins

Trommelmaschine D3R-25 Eins

Rave Dan Rave Rave
Techno Dan Techno Techno

To celebrate Reinier's 11th DAN black belt in raving after a full week of EATING CONCRETE he opens a creative bottle from his birth year 1991, while politely nodding to the classic T99 - Anasthasia.

Rave Dan

Get it here...

PREMIERE: Reinier Zonneveld - Eating Concrete (Original Mix) [FILTH ON ACID]

RSPKT178 is the long-awaited debut EP from Brennen Grey on Respekt. After a killer remix on Stiv Hey's 'Can't Stop' a year ago, we're hyped to have him back on the label with 3 servings of his signature aural cuisine.
'Carpe Omne' kicks things off with soaring, off-kilter arpeggios and gated vocal fragments, before peaking with a massive, laser-reaching breakdown, then steaming back in with all out mayhem.
'Voice of the Void' continues the eerie theme with gothic choirs and demonic drones, whilst 'Les Dieux' serves as a less melody-driven counterpoint to it's sister tracks, relying on a seismic kickdrum and sparse synth stabs to round out the release.

Delivered by <a href='http://www.label-worx.com'>Label Worx</a> on behalf of <a href='http://www.respektrecordings.com'>Respekt Recordings</a>

Brennen Grey - Voice of The Void

While we're all confined to quarters and looking for things to occupy us, we were excited to hear that friend of the label Transcode had been putting his time to good use, putting his own unique spin on "Carnival of Souls". We love what he's done with it, and are pleased to share it with you here as a free download!

FREE DOWNLOAD

Spektre - Carnival Of Souls (Transcode Remix)[FREE DOWNLOAD]

Independent record label owned by Adam Beyer.

Lilly Palmer - First Time in Space - Drumcode DC269

Drumcode

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