Paranoid London collaborate with Glaswegian band Water Machine for an acidic two tracker. The London-based duo of Quinn Whalley and Gerardo Delgado are known for their stripped back acid house sound and ‘Decimated Driver’ fits the agenda once again. The track utilizes catchy distorted synth lines to drive the groove, carefully placed on top of a pounding and infectious 303 bassline. Throw in some chants of “AN – TI – CI – PA – TION” by Water Machine and they have managed to craft a perfect dancefloor filler. The second side of the record is a dub version of the track, making it all the more broody and moody.
Australian artist Factory Preset dropped a killer album, Swingchronize Me, back in 2022 and it was an ode to the DIY acid wave scene of 90s Sydney DIY made using a ‘swingchronizer,’ aka a homemade box that ”bypassed the temporal rigidity of other units allowing the freedom to create consistent swing effects.” Now, four of the cuts get reworked into deep, groove-driven and masterfully well swung sounds that are fluid, loopy and could unfold endlessly without ever growing stale. Some are slow and predatory, others are more light and colourful, all of them perfect for dropping into long-form sets where both body and mind get locked in.
DocuNights is a series of documentary screenings organized in Sibiu by The Hipodrome of Music, celebrating the vast history of electronic music. We bring you captivating films that explore the genre’s origins more than 50 years ago, evolution, and cultural influence, featuring legendary artists, groundbreaking innovations, and pivotal moments that have shaped the electronic sound.
An essential event for music enthusiasts and curious minds alike to discover the powerful story of electronic music.
Bourj Hammoud Groove shines a spotlight on the music of Armenian-Lebanese pioneer Ara Kekedjian, who was a defining voice in Beirut’s Estradayin pop scene. Fusing disco rhythms, shimmering synth-pop and Armenian melodic sensibilities, Kekedjian created music that was rooted in his community but also sounds somehow universal. Named after Beirut’s vibrant Armenian district, this compilation brings together his most essential recordings and is accompanied by an insightful booklet with liner notes by Darone Sassounian and rare archival photos. It’s a top-tier bit of archival curation that celebrates a musical legacy that bridges cultural history with danceable grooves.
Following up on the success of Moog Edits, “Moog Edits 2 – 10 Dokuz” takes the listener deeper into the sonic world of Turkish psych-funk and disco-folk. This new album is a continuation of the journey, bridging the gap between tradition and modernity with its seamless fusion of moog organ, modular synthesizer, bass guitar, electric saz and rhythmic percussions. Where the first album painted a rich landscape of Turkish psychedelia, 10 Dokuz introduces more intricate layers of rhythm and sound. Drawing inspiration from Ottoman and Turkish music, this record delves into the complex and often mesmerizing world of “aksak” rhythms—specifically the 9/8 meter (sounds are 4/4 + 5/4 beats or easily 2+2+2+3 beats). 10 Dokuz means that “Ten and Nine” which means 19, first 10 tracks 2/4, 4/4, 8/8 and 3/4 rhythms, the last 9 tracks are 9/8 rhythms which is mostly using Ottoman and Balkan areas. The combination of synthesizers, analog effects, and traditional instruments such as darbuka, and electro baglama creates about 70 minutes a vivid auditory landscape.
Delsin invites you to submerge into the prismatic electronica of Xenia Reaper. Across nine tracks of exquisitely rendered sonics, the shadowy producer engages in the time-honoured craft of introspective sound manipulation, folding gaseous pads into dissected breaks and running heavyweight machine pulses through achingly beautiful synthesis.
„Acid Reaction“ is the first in a series of new releases by Danilo Plessow (MCDE). After having recently spent a lot of studio time recording bands for his disco-focused label Space Grapes, this marks a return to electronic music. The title Rude Futures serves as a meta commentary on the realities of the modern digital age, the dawn of AI and its impact on art and society. Musically, it’s a darker, more twisted turn to Danilo’s studio experiments – with a nod to early house and techno.
Phoenix-based DJ and producer, Paul West, steps out with his debut EP “Blue Sun”, on Rocky Hill, serving up a first slice of grit on wax. Blue Sun opens on the A-side with three moody 808 workouts, tipping the hat to Motor City atmospheres while keeping things raw and warm. Flip it over and the energy shifts: a sun-kissed Adriatic voyage with the title track, and “Elon’s Musk” – a bass-driven groover destined to linger in your record bag.
Between 2023 and 2025, L.F.T. split his time between Hamburg and Berlin, slowly piecing together what would become his most ambitious work to date. The result is ‘Hell Was Boring’ a double album that plays like a fever dream, unfolding as a dark, mythical tale about life, death, and the strange spaces in between. L.F.T. – the alias of German producer and multi-instrumentalist Johannes Haas – has always thrived on tension: between punk urgency and electronic precision, between raw emotion and mechanical repetition. On Hell Was Boring, those tensions are amplified. Drawing on the spectral drama of Bauhaus, the melancholic minimalism of Linear Movement, the futuristic romanticism of Gary Numan, and even the sly swagger of Falco, the album feels at once deeply personal and part of a much older musical lineage. The sound is stripped down to its bones: drums snap and rattle from a Roland TR-808, TR-707 and Korg KR-55; basslines growl from a Roland SH-101 and Korg MS-20; shards of guitar cut through clouds of tape hiss. Everything was tracked to a Teac Tascam 80-8 reel-to-reel, giving each track a lived-in, imperfect warmth. Nothing is overpolished – L.F.T. wanted the listener to hear the edges, the grit, the moments when the music almost comes apart. Along the way, he invited friends and long-time collaborators into the fold – Das Kinn, Rosaceae, Felix Kubin, Children Of Leir, and Konstantin Unwohl – each leaving their own fingerprints on the record’s world of shadows and static.
Nubians Of Plutonia’s spacecraft drifts once again beyond the last known coordinates. The stars around vibrate like synthesizers, bending light into rhythm. The pulse that once guided us now expands through the void, resonating in waves that distort time itself. This is ‘Interstellar’, a transmission from an unknown quadrant. Each track a fragment of stellar dust, each beat a signal from the deep. As we cross nebular corridors and electromagnetic storms, we feel the gravity of sound pulling us forward – faster, farther, until all notions of direction dissolve. Somewhere, beyond the edge of frequency, we might find a new home. Or maybe we’ll just keep dancing, forever suspended in orbit around the next cosmic pulse.
Another dispatch from two familiar conspirators of the Brew fold, Beau Wanzer & Jason Letkiewicz together as The Headaches. 4 tracks of the heaviest sonic mutations that feels part seance and part sweat-drenched dancefloor. Good for nocturnal roaming through the city or for a frenzy in heady basements.
Heavyweight groove from E.R.P – deep electro pressure with Microcentric on the flip, plus a killer Convextion remix. Pure machine soul for late-night heads.
Eudemonia marks a significant milestone with its 20th release: Cerebral Waves, the debut EP from Irish sound engineer and producer Kevin O’Reilly, known under his alias Otherend. This four-track collection dives deep into the electro continuum, weaving together cerebral rhythms, acidic textures, and cosmic atmospheres. The EP closes with a remix from Sound Synthesis, who brings a smooth melodic drive while keeping the release’s spacey character intact.
Tresor Records announces the first-ever reissue of Drexciya’s ‘Fusion Flats’ 12” vinyl, including remixes from Detroit’s Octave One, Kaotic Spatial Rhythms and 043 Chaos. Originally released in the wake of Drexciya’s seminal 1999 Tresor debut album ‘Neptune’s Lair’, this release marks its long-awaited return and first appearance on digital platforms. The remastered edition contains the original extended version of Fusion Flats and features new artwork by Detroit-based contemporary artist Matthew Angelo Harrison, whose reimagined covers continue to shape the Drexciya reissue series. 25 years later, Fusion Flats returns to the constellation of Drexciya’s Tresor works, connecting their debut full-length to further explorations that continue to inspire generations.
Dettmann’s live project ”My Own Shadow” is, in his own words, ”a space where all of my artistic expressions meet,” blending techno with film, sketches and photography. The shows are less club sets and more immersive experiences, where the audience gets lost in a ”full sensory narrative.” My Own Shadow’s first official release, Approaching, is a five-track EP, complemented by his own photography on the artwork. The music spans techno and ambient, fizzing with a madcap funk and energy quite unlike any of his previous productions.
Screening: I Dream of Wires (2014)
The Hipodrome Of Music 