
Anthony Naples returns to The Trilogy Tapes with Slice Of Life EP.

Brussels Based young producer LostSoundBytes develops an haptic music, diving sometimes into cryptic and anxious foggy areas through analog materials experimentations. Drum machines dives into the mud, acid lifts, synthetiseur flying over the swamp and gusts of claps . He gives a slice of weird acid-industrial-house and makes no compromises on Activities Records.

Amsterdam label Indigo Aera, the brainchild of Jasper Wolff & Maarten Mittendorff, celebrates five years with Lost Archives Special compilation. The five-vinyl box set features 18 tracks from the likes of Skudge, Makam, Don Williams, San Proper & Antal, Ø [Phase], Deniro, Louis Haiman, Antigone, Sterac, Stephen Brown, Joris Voorn and label heads Jasper Wolff and Maarten Mittendorff.

Exium returns home, Nheoma, with their third album “Reduction Required”, based on the construction of tracks with very few elements without losing their intensity and characteristic sound.


Following his stunning ‘Everything Is Nothing’ EP, which kicked off the Hubble Telescope Series for Solar One Music in 2015, Luxus Varta (aka Emeric Di Paolo) is back with a new four track EP for French label, Intramuros. The EP opens with the wonderfully shimmering ‘Wenn’ before Luxus Varta makes striking use of his background as a drummer on ‘Lizzy’. ‘Losquato’ is a playful addition with stripped back rhythms under Paris’ story telling that bemoans a man’s work frustrations and resulting mental state (‘I gave up therapy about a month ago. My therapist jumped out of a window’), while closer ‘Tempsun’ is almost melancholy in its measured minimalism.

Part 2 of Bio Rhythm’s Pleasure Box. Enter the second circle – the realm of lust & perversity. This time the pleasure is brought by MB, Joe Lentini & Shitcluster, delivering some sh*t hot contemporary jacking blackmagic braindance jams for all you carnal sinners.

Subosc is back with “Organic Elements”. Four rhythmically effective tracks with an underlying theme: rarefaction, dense textures and evocative atmospheres inducing a spectrum of sensations like melancholy, introspection, mind wandering and encouraging the search for the self. A collection of timeless and immersive landscapes, modeled by Alan Backdrop, Artefakt, Ben Gibson and Tripsolate & Redundaent. The release aims to be a must have for the lovers of Techno music characterized by refined aesthetics and analog warmth, ideal togive added value to autumn moments.


Marcel Dettmann has mixed the latest edition of the highly respected DJ-Kicks compilation series. Whilst Dettmann is well-known for his incendiary sets at his residency at Berghain, his DJ-Kicks mix is crafted for listening, and displays a more reflective side of the DJ and producer. The mix explores a wide array of selections from various subgenres; ranging from the a new vocal-led Strictly Rhythm release, to rapping on Clarence G’s 1991 release ‘Cause I Said It Right’, recently reissued by Clone Records. Over the course of its 1hr 14 duration, Dettmann reveals multiple new original productions; most notably a collaboration with Levon Vincent, ‘Can You See It’. The pair have collaborated once in the past, releasing ‘Vengeance’ on Levon’s own Novel Sound label towards the end of 2015 to critical acclaim. ‘Can You See It’ sees the duo venture into darker territory; a stripped back, sub-bass laden affair, the quality of this production immediately stands out in the early stages of the mix. Dettmann also collaborates with MDR affiliate Wincent Kunth on ’Possible Step’. In addition to five brand new original Dettmann remixes and edits, there’s an unreleased remix of Marcel’s ‘Let’s Do It’ from Ostgut Ton labelmate Rolando. Designed to be enjoyed by both the critics and more casual listeners, this mix is the latest in a long series of lifetime achievements over the course of Dettmann’s career – and with so many new unreleased original Marcel Dettmann productions included, this is a landmark release for the producer.

When the duo Skudge started out in late 2009 with their first release on Alphahouse, followed by a string of underground hits on their own label Skudge Records, little did they know that they would be in the forefront of the Stockholm sound of the dawning 2010’s. The complex rhythm textures combined by a echoing audial lightness that still runs unparalleled, paired with sub intense quick basslines and swirling percussion has been the trademark. This updated take on the techno and house crossover of today got appreciated and caught the attention of a full spectrum of artists. With a tight release schedule, 2010 alone saw 6 releases from the Skudge hub. Culminating in 2011 with the release of ‘Phantom’, the full length album release on the home imprint, followed by the sub labels that releases other artists as well. Five years from that era, Skudge has reshaped into the solo work from one of the original artists. This change of production and artistry launches into the crates with the release of the limited full length ‘Balancing Point’ LP. During this time, the sound has shifted into new territory, where the entire A-side acts as the beginning of this grooving whirlpool of a record: quick and immense. The UK influences that was formed in the 90’s, gets picked up and infused through the B-side, ending off in a almost orchestral piece. The delicate subtleness of the second 12′ showcases a familiar coming-of-light type of style that we so much appreciate, firmly ending the long player and leave us sure of the future.
DJ Stingray, Detroit’s masked man of mystery, returned to us at Dekmantel for yet more vintage electro mixed at rapid pace.

Ike is no stranger to Finale Sessions at all with his release under the guise Innerspace Halflife with fellow producer Hakim Murphy. This time he flies solo under his real name Ike Release. The first cut called “Tangerines M” it takes you for a ride with its rawness and it’s thick pads and morphing keys and its wicked bassline . Track two called “Tungstun M” is another floor stomper with this one with its filtered pads and in and out synths just drooling with rawness.

Neville Watson’s debut on Riverette, with 3 tracker full of bangin’ techno with a bit of house on top. Already on its 12th release Riverette goes for the techno route this time with none other than the mighty Neville Watson at the driver’s seat. Straight up in your face, dancefloor weapons this release delivers what the title of each song promise.


The Argentinian based NGLY had seemingly appeared out of thin air landing on the Brooklyn based L.I.E.S. label in 2014 with an untitled four track white label ep. On this ep, the unsuspecting track “Speechless Tape” ended up becoming a cult hit with select djs in the scene (I-F, Mick Wills, Intergalactic Gary…) eventually leading to it being voted as Intergalactic FM’s #1 track of the year in 2014. On the heels of his successful debut Rudolfo could have stayed the path and produced an easily digestable follow up dance record or two, instead he chose to take his time and reflect. Sitting back in the studio tweaking his live act, recording endlessly, transforming and refining his sound. In the end we get his debut eight track lp, Cities of Illusion, a record that walks a fine line between many of the original strains of the electronic realm. The elements are all there to be picked apart, to be used, to be abused, thrown against the wall smashed to bits…played in the club or on the late night mix shows, it’s magic you heard in the past and crave in the present. To say the music on the lp is one thing or another is an injustice…it pays reverence while at the same time turns a corner; held together by a loose yet cohesive thread. It is a full presentation that is unafraid to challenge or confuse, with no concern for genre imposed limitations.

Dominick Fernow presents another dark and confronting opus entitled Media In The Service Of Terror. Read between the lines of the titles then listen and learn via these harsh textural abrasions on offer. The sombre and brutalist opener “Ziad Jarrah Studied Mathematics” sets the scene well, the tunnelling slo-mo techno of “Take Vows” is great and follows the same path as Vactrol Park or L’estasi Dell’oro have in recent times. “Interrogation Mosaic” shows Fernow still has the knack for some chilling imaginary soundtracks while “More Of The Same (Tunisia)” has the classic outsider techno sound that Fernow has honed on previous efforts like Remember Your Black Day or Ghosts Of Chechnya.