Time Modem   The Time Of The Gathering

Dysfaction is joining the KD RAW ranks with their newest endeavour into sonic mayhem. Beatvox is the namesake of this EP and strikes out straight from the get go.

Already supported by: Adam Beyer, Maya Jane Coles, Marco Faraone, Laurent Garnier, Klaudia Gawlas, Sam Paganini, Pan-Pot, The Advent, Josh Wink and many more.

"Beatvox EP" is a mesmerizing collection of three tracks that takes the listener on an immersive journey through the hypnotic world of techno music. Each track is masterfully crafted to showcase the transformation of vocal snippets into unique and captivating synthesizer voices.

The first track, "Karplus," highlights the power of Karplus-Strong synthesis, a technique that creates rich and plucked sounds by modeling the vibration of a plucked string. This track features a driving beat that seamlessly blends with the intricate and complex melody created by the Karplus-Strong synthesizer, resulting in an otherworldly sound that will transport listeners to a different realm.

The second track, "Eight Oh Eight," is a nod to the classic Roland TR-808 drum machine, which is widely considered one of the most important instruments in electronic music history. This track features a heavy, pounding beat that perfectly captures the essence of techno music, and the addition of the transformed vocal snippets creates a truly unique and immersive listening experience.

Finally, "Denied" is a powerful and emotional track that showcases the full range of the EP's hypnotic techno sound. The synthesizer voices created from the vocal snippets are seamlessly woven into the intricate melody, creating an atmosphere that is at once intense and deeply introspective.

Overall, "Beatvox EP" is a stunning showcase of the power of transformative sound synthesis in techno music. Each track is a masterful example of how vocal snippets can be transformed into unique and captivating synthesizer voices, resulting in a truly unforgettable listening experience.

Beatvox EP

Buy/Stream

Karplus

Yves Deruyter - Yvesday

Gregor Tresher - Black Halo - COR12175

Cocoon Recordings' next 12” vinyl comes from a well-known face. No introduction needed as nobody less than Gregor Tresher once again delivers a superb and surprising pair of tracks.
“Black Halo” is down-the-line and perhaps one of the catchiest tracks by Gregor Tresher.
The wobbling driving bassline builds up a rising tension that increases through the vast, detuned, and powerful string parts appearing to extend out to light years, reaching far beyond. Zaps drive the rhythm forward while rushing cymbals push the groove and weld everything together to absolute unity. For Gregor, techno and club culture have certain transcendental qualities, “Black Halo” is concerned with these sentiments and tells an ambivalent story. The onset of bliss oscillates between melancholy and hope, making it an exuberant roller coaster of emotions. A classic Gregor Tresher track, which perfectly represents Gregor’s signature sound!
“Phantom Dancer” literally pulls you onto the dance floor. Discharging beats, which hit you heavily but pleasant. The atmosphere violently evolves with a twisted noise-like signal sound and gets even more brute through the low-pitched filter vocals. An exceptionally deep techno production by Gregor Tresher, which will definitely come to full fruition in the clubs at peak time.

Black Halo

Gregor Tresher - Phantom Dancer - COR12175

Beatport: https://www.beatport.com/artist/qual-freude/476895
Spotify: https://open.spotify.com/artist/1ptvDM1JBKxBrJZVFCNqQq?si=NkuKIiBFTrK7QYAOaPBfBw
Instagram: https://www.instagram.com/qualundfreude/
Soundcloud: https://soundcloud.com/qualundfreude
Facebook: https://www.facebook.com/QualundFreude/
Bandcamp: https://qualundfreude.bandcamp.com/
TikTok: https://www.tiktok.com/@qualundfreude?lang=de-DE

ALSO SUBSCRIBE MY SECOND CHANNEL "Claas Dimanski"
https://www.youtube.com/channel/UCUnbtRwDrY5pQdme59BOPZw?app=desktop
https://soundcloud.com/claas-dimanski
https://open.spotify.com/artist/2Bct9eIcguIN30DtW3khgz

Auf Beatport kaufen!

QUAL & FREUDE, Claas Dimanski - Break Me (Original Mix)

KOMAKINO-OUT OF THE DARK

YouTube: Gabriel Fiori
Spotify: Gabriel Fiori
Instagram: gab_fiori_

THIS FINALLY

DJ Jock - The Binding Of The Fenrir

Premiere: DJ Jock - The Binding Of The Fenrir (Original Mix)

::: mail: booking@haus33.club
:: facebook: www.facebook.com/technicalnoah/

Acid Focus

Bayawaka is an artist name of Golan Aflalo, originally from Jerusalem, presently living in Berlin. Initially, Golan was all about Broken Beats, PsyBass, Breaks and Chillout, but in the last few years he branched out to four-on-the-floor genres which he DJ’s under the name Golanski.

Since the early 2017 Golan is also a co-managing Digital Structures’s Berlin branch, and this following xXETEXx Vol. 02 is his take on the world of Psychedelic Tech - hand picked, road tested, grass fed and organic voyage into the diversity of dance floor sound. Thanks to all participating artists, you have outdone yourselves!

enjoy.

Buy on DS BandCamp

Breger - Just A Dream (Original Mix) [soundcloud clip]

Norden

GOA PARTY MUSIC FROM 1984 TO 1993.
ANYONE INTERESTED IN MUSIC FROM THIS ERA PLEASE FEEL FREE TO DOWNLOAD.
A LOT OF THESE TRACKS WERE PLAYED BY DJ LAURENT AT THE PARTY'S DURING THIS PERIOD.

A musical role model of mine, little known outside of the psytrance scene, is Laurent, the French DJ who introduced electronic music to the beaches of Goa, India and played there regularly during the years of 1983-1993.

Part of the hippie traveler wave that flocked to Goa beginning in the 60s and 70s, Laurent took the early sounds of electronic dance music and, through a combination of clever track selection and customized digital tape edits, turned it into a futuristic form of sixties psychedelia. The extended edit wasn't a new thing (it had been done back in the days of disco), but he realized that by cutting out vocals and extending passages with nothing but synthesizers and drum machines you could create a ritualistic atmosphere, one especially suited to the Goa environment. An environment that was awash with acid and chillums, shot through with mystical trappings, and set outdoors in beautiful nature. As well as his editing skills, his collection and knowledge of music was beyond extensive, tapping a global network of friends for music that came from everywhere and every style. He drew from rock, dub, electrofunk, disco, new wave, industrial, house, experimental art-pop, and American techno from Chicago and Detroit. He would also incorporate European forms of techno like trance, the genre he helped create and in doing so, he eventually became part of a feedback loop going from Goa DJs to studio musicians and back again.

By the beginning of the nineties, artists were traveling to Goa, hearing Laurent and DJs influenced by Laurent, coming home, and making music based on what they had heard. Trance, and what would become psytrance, owe much to his expansive attitude. He was a pioneer of the 'party as a journey' concept... dark, inward,focused music at night would fuck with the dancers' heads, and at sunrise, dreamlike reveries would bring them gently back to Earth. For those who dropped acid, this seems especially appropriate.
By his own estimate, Laurent played around 10,000 different tracks during his years in Goa. It's not entirely clear why, by 1994, he had quit DJing. The changing nature of the music may have contributed to it: Goa had coalesced into its own musical style by then, one that had been streamlined into a fast techno/trance hybrid. Full moon parties, trance dances, or just Goa parties were the terms before then, but now artists were making "Goa Trance" with its own particular motifs and aesthetic. This was incredible music, it brought much-needed colour, nuance and experimentation to a techno that too often limited itself to dystopian gray or was content to pound its listeners into submission. Still, Goa Trance (later called psychedelic trance or just psytrance) was too uniform for some old-schoolers, who missed the days of even wilder experimentalism. LSD was still the drug of choice, but some complained that you just couldn't dance all night to 140 BPM.
Perhaps, though, Laurent had simply done everything he had wanted to do as a DJ and decided that it was time to move on. He remains an enigmatic figure, posting on the occasional forum when it strikes his fancy. In a massive infodump, posted on discogs.com, he revealed 1,000 of the tracks he had used; all commercial releases, ranging from the extremely obscure to the very well known. I learned so, so much from that tracklist: it gave me many happy weeks on Youtube, swelled my record collection, and led to a tribute mix.
Looking at the list, I'm struck by how counter intuitive much of it seems. I picture juxtapositions of the most bizarre kinds... The B-52s and Front 242; Blancmange and Afrika Bambaataa; Thomas Dolby and Italo disco. Laurent's genius, I think, was to identify the shared transcendental impulse behind much contemporary music, and to put that under a sonic magnifying glass for all to hear.
By the late nineties, Goa was a fading scene. I started with the post-Goa psytrance movement, that had its epicenter in Israel and the UK.
in the deserts outside Tel Aviv and the nightclubs of swinging London, not a beach in southern India. From there I worked my way backward to learn the music's history and why India was so damn important, anyway.
Very important, as it turns out. The story of Indians from Goa, some of whom grew up with this music and later became producers of it, is another tale waiting to be told; from what I've heard, Goa is rife with both wonderful examples of coexistence and cross-pollination and less-wonderful examples of conflict and exploitation. But in its heyday, Goa was a case of First World spiritual seekers and party animals living in symbiosis with a newly independent Indian state. It was hot, dusty, and rough, and it created a new musical culture.
The early Goa scene took the artificially imposed distinction between 'head' electronic music and 'body' electronic dance music and took a sledgehammer to it, flattening it out into an open experiential field. It showed that EDM could be as trans formative, complex, and confrontational as a psychedelic trip; that it could provide, not just an escape from reality, but whole new ways of engaging with it.


KOMAKINO-OUT OF THE DARK

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