One year on from his first appearance on the PM+ series, Glasgow’s LWS returns with another two surefooted club cuts shot through with the emergent producer’s trademark flair and laser focus. Matching crisp functionality with dance-melting peaks, he’s zeroed in modernist machine music to incite a feverish response in the firmly established format of the PM+ releases. 

‘Oop’ ratchets down its rhythm section in an instant, leaning on a hefty sub payload and sprinkling some lopsided spectral synth work up top. It’s the buzzing sawtooth bass which will really cast brains and bodies asunder though, gouging a path through the springy groove like a hyped raver making a beeline for front left dosed up on Irn-Bru. 

‘Routine Supreme’ has its own share of fireworks to set off, maintaining the instinctive bounce of ‘Oop’ before derailing the circus train with staccato tech triplets to get gun fingers twitching manically. There’s space for pitch-sliding breakdowns and subtly euphoric peaks, but the rhythm section remains front and centre for maximum club capability. 

Road tested by the trustiest of turntable botherers, both these cuts come with a rave-wrecking guarantee, but that’s no surprise as LWS confirms his prime position in the liminal zone where house, techno and bass coalesce.

Artwork by Håkan Ullberg 
Mastering by Isle Audio

LWS - Oop / Routine Supreme [PM+ 10]

Friday 10-6 Techno

[PM+10] LWS - Oop / Routine Supreme

Coming on strong with the kind of angular, tonking techno that makes a mess wherever it lands, Peder Mannerfelt heralds the start of a new series called PM+. Mr Mannerfelt’s rap sheet for extravagant strains of club music sweeps from recent expressions on Blawan and Pariah’s Voam and a collab with Klara Lewis on The Trilogy Tapes to mutant catalogue entries for the likes of Hinge Finger and Numbers. He’s also whipping up a frenzy with Pär Grindvik in the midst of their new collaborative venture, Aasthma. 

Serving as a calling card embossed with subversive sound design, kinked sequencing and luminescent synth work, the two mixes of ‘All In Your Hands’ are glittering examples of the dense, abstract floor sweepers we demand in the face of a thousand techno also-rans. The thumping immediacy of the compact digi drop establishes the mode PM+ will run in, with subsequent one-two punches landing imminently from Zoë Mc Pherson and Ciarra Black’s Carbon 96 project and a Pelican Company remix package featuring ZULI and Logos.

Peder Mannerfelt - All In Your Hands (FT Version)[PM+1]

Peder Mannerfelt - All In Your Hands (HD Version)[PM+1]

PM+ has set out a crystal-clear MO that prioritises mutant club weapons served with immediacy. Following entries from Peder Mannerfelt and Carbon 96 (Zoe McPherson and Ciarra Black), the third drop of technoid manna from this sprightly series of digital releases turns to Swedish synth scientists Pelican Company and the considerable remixing skills of Logos and ZULI. Johan Antoni and Henrik Johansson (aka Smyglyssna)’s Pelican Company manifests in expansive, highly developed soundscape gear – engrossing on its own terms but also just crying out for a wayward injection of danceability.

Logos steps up first – a bass-toting UK upstart whose meandering catalogue between Keysound, Tectonic and Different Circles leaves his options wide open as he tackles ‘Alvaret’. The end result is a twisting and tunneling dub out with ample propulsion but an overall lightness of touch which will surely appeal to the deepest of techno trippers. Egyptian wildcard ZULI takes a run at ‘Lowlife Hi-Tech Occult’, applying his maverick re-sampling verve to the rich source material and creating a staggered, cracked version which veers between coolant-soaked suspended animation and oil-slickened bass interference.

Pelican Company - Lowlife Hi - Tech Occult (ZULI Remix)[PM+3]

Following the lurid techno histrionics of Peder Mannerfelt’s All In Your Hands, the PM+ series doubles down with unnerving efficiency to present a formidable pair of club levellers from a formidable pair of club levellers. As an artist across many media, Zoë Mc Pherson slips between easy definition, with an uncompromising experimental attitude which sometimes tests soundsystems and sometimes fills gallery spaces. Ciarra Black operates in murky fringes of contemporary techno, comfortable wielding industrial intensity and eerie negative space alike. 

As Carbon 96, Mc Pherson and Black first performed a live hardware collaboration for the COMMON multiverse live stream in 2021. Now their joint venture gets pumped full of gas and rises to the surface, manifesting as two sharply tooled rhythms. The first, ‘Hyper Hunter’, is a finely balanced blend of pummeling percussion and cavernous space, marked out by echoes and purrs that soften the attack of the rapid-fire low-end thunder. ‘Club Soda’ is a fizzy spritzer in comparison, rocking at a peppy tempo with its own cascade of higher-register pockmarks and angular rave stabs squashed into blunt instruments.

Carbon 96 - Club Soda [PM+2]

Carbon 96 - Hyper Hunter [PM+2]

Tunnel Vision

Dopemine

Reson8

TETCHKO - Voice Of The People (Original Mix)

One year on from his first appearance on the PM+ series, Glasgow’s LWS returns with another two surefooted club cuts shot through with the emergent producer’s trademark flair and laser focus. Matching crisp functionality with dance-melting peaks, he’s zeroed in modernist machine music to incite a feverish response in the firmly established format of the PM+ releases. 

‘Oop’ ratchets down its rhythm section in an instant, leaning on a hefty sub payload and sprinkling some lopsided spectral synth work up top. It’s the buzzing sawtooth bass which will really cast brains and bodies asunder though, gouging a path through the springy groove like a hyped raver making a beeline for front left dosed up on Irn-Bru. 

‘Routine Supreme’ has its own share of fireworks to set off, maintaining the instinctive bounce of ‘Oop’ before derailing the circus train with staccato tech triplets to get gun fingers twitching manically. There’s space for pitch-sliding breakdowns and subtly euphoric peaks, but the rhythm section remains front and centre for maximum club capability. 

Road tested by the trustiest of turntable botherers, both these cuts come with a rave-wrecking guarantee, but that’s no surprise as LWS confirms his prime position in the liminal zone where house, techno and bass coalesce.

LWS - Routine Supreme [PM+ 10]

LWS - Oop [PM+ 10]

After „Starlight", his contribution to the Four To The Floor 27, Italian artists Paul Ursin returns to Diynamic with a four track EP.
Opening track „In My Soul" is an emotive peak time floor filler with a rousing vocal and enthralling techno percussions taking you for a ride.
In „Last Train" we hear a sample of an iconic German amusement fair announcer; the track perfectly encapsulates the feeling of a teenager trying to look cool while struggling to hold on to the rails of the fair ride that accelerates uncontrollably.
Title track „1997" will let you know it's time to get pumpin'. Subby frequencies tickle your guts and the catchy chords magically move your feet towards the dance floor.
And closing off the „1997 EP" is „Let Me" in collaboration with Afterwards - a dark and brooding Melodic House track with a thick sub-bass and an emotional voice that lures you in.

Get it here: https://orcd.co/1997ep

Paul Ursin - Last Train

Peder Mannerfelt splits the difference between playful immediacy and daring experimentation. You’re as likely to find him premiering a live show at Berlin’s Atonal festival as pulling apart fabled techno meccas from Berghain to Fabric with synapse-frying precision. One minute he’s being asked to remix Björk, and the next he’s dropping EPs of non-conformist techno for Karenn’s Voam label. 

As a prolific collaborator throughout his career, Mannerfelt has veered from the orchestral tension of Roll The Dice (with Malcolm Pardon) to the anything-goes maximalism of Aasthma (with Pär Grindvik). As a producer, he’s worked on every one of Fever Ray’s acclaimed albums and live shows, as well as projects from alt music heavyweights such as Smerz, Blonde Redhead and Glasser. His Peder Mannerfelt Produktions label has become another outlet for his singular approach, presenting his work alongside similarly experimental operators like Sissel Wincent, Machine Woman, Klara Lewis and Hodge. 

More recently, his PM+ series celebrates the immediacy of club-focused tracks, and Mannerfelt thrives on the energy and community of contemporary club music. What makes him different is his response to that energy, as he pushes the music’s possibilities in wild, unpredictable directions.

LWS - Oop [PM+ 10]

PederMannerfeltProduktion