Techno

Alex W - Detroit Techno Archive II (DTA2 12" Side A)

Nina Kraviz launches her трип (pronounced ‘trip’) label with a double-EP compilation entitled ’The Deviant Octopus’, featuring a pair of brand new productions from Kraviz alongside material from Terrence Dixon, emerging talent Parrish Smith & Bjarki, and veteran producers Exos & Steve Stoll.

The idea for трип has been gestating for some time with Nina Kraviz, an avid crate-digger and frequenter of numerous second-hand record stores, who has long wanted to begin a label of her own which would build on some of the principles of her beloved 90s techno labels in terms of attitude and aesthetics, whilst looking for forward-thinking modern productions that reflect her core tastes for idiosyncratic electronic music.

The art and title of 'The Deviant Octopus' comes from a single-sentence scenario dreamt up by Kraviz: “Without a moment's notice an Octopus appeared and devoured everyone in sight”. Supplied with this scenario, artist Tombo rendered his own unique visualization for the artwork that adorns the release sleeve. It's Kraviz's own nod to the labels that inspire her and grab her attention while digging through second hand records, the best of which were imbued with the unique personality of the people behind them. This extends to the sound Kraviz intends for трип: dusky, divergent and trippy music to stimulate brains, dreams and fantasies.

In this respect ‘The Deviant Octopus’ is a perfect introduction: Kraviz herself is represented on the tracklist by two new tracks that take up the mantle of last year’s Mr Jones EP by returning to the vocal-flecked hypnotic techno that marked out that release. Complimenting those are two new cuts from a true master of hallucinatory off-kilter techno, Terrence Dixon in his Population One guise.

Joining them will be a pair of names from the techno pantheon who have been huge influences on Kraviz: with a career that’s taken in releases on Synewave, Trax, Novamute and Richie Hawtin’s early-90s Probe Records, Steve Stoll has been mining his own variant on techno and acid minimalism for over twenty years, heading up the Proper NYC label and releasing under various pseudonyms, such as Cobalt, of which Kraviz has been a long-term fan. His counterintuitively titled ‘Pop Song’ sits alongside a 13-minute 90s techno excursion from Reykjavik’s Exos - the only previously-released cut (originally appearing on Thule Records sub-label Plast Trax in 1998) - together illustrating that трип will also live up to its name in the geographical sense: showcasing great music from historically vibrant electronic music scenes outside of the usual Detroit-Berlin axis.

With Kraviz looking to build a small repertory of talent around трип, this first release also makes room for two newer names: Bjarki is an Icelandic talent to keep a firm eye on, who drew Kraviz’s attention in a chance meeting after a gig at Copenhagen’s Culturebox club, after which he passed her a collection of mind-bendingly odd demos; while Parrish Smith is a talented Netherlands-based producer whose short yet impactful sketch ‘1.0 / 8.0 Afrika Genocide’ brings the second 12” to a bewitching close.

All tracks on ‘The Deviant Octopus’ will feature on Nina Kraviz’s DJ Kicks compilation, out in January 2015 on !K7 Records.

Tracklist: 
A1 Nina Kraviz - Prozimokampleme 
A2 Steve Stoll - Pop Song 
B1 Nina Kraviz - IMPRV 
B2 Bjarki - Polygon Pink Toast 
C1 Population One - Out of Control (Vocal mix) 
C2 Population One - Bonus Beats 
D1 Exos - Nuclear Red Guard 
D2 Parrish Smith - 1.0 : 8.0 Afrika Genocide

The Deviant Octopus

C1. Population One - Out Of Control (Vocal Mix)

Natema (Original Mix)

Buy on bandcamp

Tambour Trinité By Bongo Percu - Mafaté (Kazamayé Afro Maloya)

Rapture III with hungry for the power vocals 

Rapture III Vs Hungry For The Power (Baldy Edit)

The Carry Nation, a respected pair of NYC underground artists, steps up to supply the next 12” on Batty Bass with ‘The Queens’ EP, featuring a title track that delivers a finely tuned rhythmic excursion.
 
As protégés of David Mancuso, The Carry Nation have been known for delivering standout DJ sets, gracing the decks at Glastonbury, Horse Meat Disco parties in London, Honey Sound System in San Francisco and more. Now they turn their attention to produce original material that fits their ethos of dancefloor focused music.
 
On ‘The Queens’ EP the duo showcase their knack for infectious house, using clever samples and organic textures to deliver a dancefloor bomb: "We wanted to show the range of sounds that have been bubbling in our subconscious, a sort of next chapter for us.”
 
‘The Queens’ EP is set for release June 13.

More exclusive music

Premiere: The Carry Nation 'The Queens'

Dystopia

Krasch Records | KRASCH 1 | 2018

"Fresh, killer Techno from Noah Gibson's label Krasch Records."

KRASCH 1

Master Teacher

B2. Master Teacher

Reincarnations, Pt. 2 - The Remix Chapter 2009 - 2014

It's Only (DJ Koze Mix)

Motor: Nighttime World 3

Torque One

@frrgo "Sinner" will be released on 12th July through @lenskerecords. More info: http://bit.ly/TPfarrago

Neontrance

Farrago - Sinner

BUY IT NOW: https://www.beatport.com/track/space-date-pleasurekraft-remix/12153522
STREAM IT NOW (Spotify): https://open.spotify.com/track/1lbUtnuS8AYvKd0lziKpJ4?si=gasYXChQSSeRezMAL9tiug

Pleasurekraft return to Drumcode on remix duties after a 2 year hiatus with all engines on the Cosmic Techno ship firing.  Big-room atmospheric drums and an infectious call and response hook intertwine with Green Velvet's otherworldly vocals to produce a new highly visceral and steroid injected version of the original.  The "Space Date" remix marks the sixth collaboration between the seminal purveyors of the Cosmic Techno sub-genre, Pleasurekraft, and Chicago's iconic dance music pioneer Green Velvet. 

The remix initially came about after Drumcode head Adam Beyer heard Pleasurekraft's "Welcome to the Universe" EP [Kraftek] at the end of 2018.  A huge supporter of the Swedish/American production duo, Adam felt so inspired by the whole EP, especially "Main Sequence" that the opportunity for Pleasurekraft to take their love of all things space related lent itself naturally to the thematic elements in Green Velvet's vocals. 

The track's spine is built around a hypnotic groove that is anchored to a single word from the original's vocals : "ecstasy" and slowly builds to the first climax of the record where the listener finally hears Green Velvet's vocals in full for the first time.  However it isn't until the second break of the track that the power of the remix is finally unsheathed, resetting the groove and building up to a second swell featuring a duo of call and response melodies between the lead hook and a lower end bass that takes the intensity of the track up another notch - ultimately culminating in complete silence that gives way to the remix's original heartbeat and repeating mantra: "ecstasy". 

Taking over a month of studio time to complete, it was road tested for the first time at Pleasurekraft's Fabric London gig, where there was no shortage of inquiries as to the ID of the record.  This soon became a repeating theme after Adam Beyer first included it on DCR446 and played it during both of his Ultra Miami (Resistance) sets, including his closing b2b set with Maceo Plex who loved the track so much he proceeded to get his own copy and play it during his own solo set one week later at Time Warp in Germany.  

Multiple clips of the remix have already gone viral on various social media and blog outlets, with no shortage of fans waiting anxiously for the June 24 release date on Adam Beyer's own Drumcode Records. In Adam Beyer's own words, Pleasurekraft are "setting new standards" with their continued foray into the Cosmic Techno sub-genre they continue to define.

www.instagram.com/pleasurekraftofficial
https://www.youtube.com/user/pleasurekraftREAL
www.facebook.com/pkmusic
www.twitter.com/pleasurekraft

Space Date Remixes

BUY IT NOW

Adam Beyer, Layton Giordani, ft Green Velvet - Space Date (Pleasurekraft Remix)

Buy: https://bit.ly/32IVHP7

UK techno giant Perc is gearing up to release a remix EP for his gargantuan cut 'Look What Your Love Has Done To Me' off his 2017 album 'Bitter Music'. In addition to creating his own VIP mix of the seven-minute dancefloor epic, Perc has tapped I Hate Models and Amelie Lens to reinterpreted what remains the biggest-selling track in the history of the artist's Perc Trax imprint.

Ahead of the three-track release on July 26, Mixmag has acquired the latter of the three remixes for a premiere. The Belgian techno phenomenon keeps the track's core drums intact while adding a deep and seductive melodic touch that gives the umbrous techno slammer a fresh spectral feel.

Premiere: Perc 'Look What Your Love Has Done To Me' (Amelie Lens Remix)

Eb and Flow

Damon Wild Remix 1 of A.Paul's "Myths" for Naked Lunch 100.

Myths - A.Paul (D.Wild in the dub mix)

Sweden’s Bleak is fast becoming an essential part of his country’s techno new school. Through releases on Deeply Rooted House, Sudden Drop and Traut he has emerged as a producer of funky, loopy techno a la countrymen Skudge.

Here he debuts on Delsin with a fierce two tracker, Origins of Chaos. The first track ‘Sixteen Crude’ is a cantering techno cut with searing, warbling synths racing along above lazier, underlapping kicks. It’s a nice contrast that gives the acidic track plenty of depth, before the flipside, ‘Subject Target’ deals in more convoluted, whip-snap lines that thrash about like cables in a storm. Industrial yet human, it’s timeless techno that wraps you up in its midst and never lets you go.

Track 'Sixteen Crude' is taken from Bleak - Origins Of  Chaos
Release in 2 weeks

Origins of Chaos

Sixteen Crude

Buy at Delsin Webshop

FLOORPAN "THE MASTER'S PLAN" (CLASSIC MUSIC):
https://cmc.lnk.to/cmcd141d

Before I got into this music I wanted to be an originator ; I wanted to be original".
Founding member of the legendary group Underground Resistance as a 'Minister Of Information' with ‘Mad’ Mike Banks & Jeff Mills, his seminal works on Jeff Mill's Axis and his very own M-Plant imprint paved the way for a wave of stripped-down dancefloor minimalism that directed much of techno's path throughout the late Nineties.
Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. 

"Growing up in Detroit, I grew up with Motown in the house - a lot of Motown and Philadelphia soul, artists like Marvin Gaye of course and Curtis Mayfield. I remember Isaac Hayes, the soundtrack from ‘Shaft’ had come out. My father was a jazz musician; he played piano, trumpet and drums. My mother was in an R’n’B group.
We listened to a lot of Motown - in fact, my grandfather’s first cousin is Berry Gordy.
"I was influenced by my father - I wanted to play trumpet like he did."
Robert's father tragically died when he was just 6. The photo of Robert siting down holding a trumpet is his fathers.
"I had to beg my grandmother to let me borrow the trumpet to take a picture with it"

In the early 90's he began to concentrate on his own production 'Vision EP', the 'Riot EP' and X-102 were big stepping-stones for him as they were the first releases he worked 100% on his own. The X-101 to X-102, were Waveform Transmission projects with Mills for Tresor. He slowly progressed to work more and more on his own, but collaberated on some of the first Axis releases with label owner Jeff Mills as H&M (Hood & Mills) with ‘Tranquilizer EP’ and ‘Drama’.

He soon decided it was time for him to start his own label to focus on what was in his soul musically. M-Plant started in ’94. I had developed this “grey area” sound - what I mean by that is that in Detroit, even when the sun is out, there’s something in the atmosphere. I don’t know if its pollution or whatever, but the sky has that grey haze over it. It’s got to be something from the industrial factories there. I’d never really heard a sound like that before and it came from a Roland Juno - it was a chord sound that really went along with my depiction of what Detroit was at that time. A lot of buildings were abandoned and there was a lot of lifelessness in the city, especially downtown. The M-Plant, in minimalism, kind of reflected that. I remember thinking of Detroit like a museum. You know, like a work of art standing still, suspended in time. There wasn’t a whole lot of activity going on.

Releasing singles such as "Internal Empire,", “The Protein Valve” "Music Data," and "Moveable Parts", "The Pace", more recently "Range", "Alpha" and that isn't even touching his other monikers Floorplan, Monobox, The Vision, etc.
"M-Plant is what I've always wanted to hear: the basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart, mind and soul. “It's a heart-felt rhythmic techno sound. M-Plant is just M. minimal. “

Although his desire to remain underground has been replaced by an urge to reach a wider audience, mainly via his housier, disco, gospel moniker Floorplan with his daughter Lyric Hood,   Hood remains fiercely critical of artistic and economic movements destructive to inner-city communities and has combined his musical enterprises with outreach and social activist ends.

Torque One

Robert Hood - Floorplan

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