finest smoothy detroit sound

limited to 350 copies worldwide. be quick. one copy per customer

detroitish electro by brooklyns duo seer

ali bergers debut on spectral

5 clubby and hypnotic tracks

todd osborn returns to spectral sound in his osborne guise with his first release on on the label since 2013 s hold up (feat. joe goddard). fools finds osborn in his best self, as a shapeshifter bringing together strands of various genres. the title track is a lesson in house reduction, while -different- is a chunk of bassline-led techno. on the b-side, -back whenever- kicks off in proto-idm electro form, all melody and light, and -integrate- slows it down to a walking pace for a dash of synth funk.

coming off the acclaim of pablo — designated by pitchfork as “best new music” and a candidate for the song of summer 2018 — greene drops a three tracker for ghostly’s spectral sound imprint that finds him in fine form.

part 3/3! several shades of the same color is patricias first album for spectral sound, produced in conjunction with his own label active cultures.

part 2/3! several shades of the same color is patricias first album for spectral sound, produced in conjunction with his own label active cultures.

part 1/3! several shades of the same color is patricias first album for spectral sound, produced in conjunction with his own label active cultures.

this grouping of audio recordings is for aural use only. any emotional content perceived herein is borne of its listener, and is in no way intended by its author. any sounds resembling speech are not intended to convey meaning. several shades of the same color is patricia s first album for spectral sound — produced in conjunction with his own label active cultures. tips for listeners: consider the moment in which you exist, pay attention to how these sounds evoke physiological (rather than cognitive) responses. listeners may find themselves deriving immense physical pleasure from exposure to these sounds. inability to achieve such pleasure is likely attributable to over-analysis of the aforementioned audio content — or to improper amplification. each of shades three lps features suites of tracks that, considered alone, comprise their own distinct, unique worlds. disc one opens with -i know the face, but not the name,- an unabashedly plaintive trip through classic electro rhythms, flip it over for -the words are only sounds,- a haunting affair for synthesizer and voice. disc two s -the electric eye is upon me- swirls endlessly, while -shiba inu dub- is cut for the floor and coy as its namesake. disc three s jackin -feel your body- will cause you to do just that, -german friendship- sounds like d.a.f. on dissociatives. any emotional associations incurred while listening come at the listener s discretion. furthermore, the identity of the author and/or their passions regarding the recordings herein shall bear no weight on the listener s experience. this body of work is not intended to generate ideas, rather, its goal is to produce physical sensations in the listener.

avalon emerson’s latest ep, narcissus in retrograde, explores four different styles that shape her distinct voice as a producer and songwriter, from symphonic showstoppers to broken acid. opener “natural impasse“ ferries massive melodic themes through a network of emotive capillaries that’s underpinned by charging drums, while “dystopian daddy“ dons a theatrical flare with costume-changing arpeggiators and digital brass beef that command attention like a stage-hogging space alien diva lip-syncing for new wig money. the b-side takes a more menacing turn with “why does it hurt“, the outright techno achievement of the record, and the snarling closer “groundwater“. ethereal vocals on the former punctuate kicks and growls that sound like they were pulled from a pedal monster’s electric guitar, and on “groundwater“, a crucible of fucked breaks and acid cut a ravine through a bed of off-staccato hats and a sample swamp.

reflections is the spectral sound debut of nautiluss, the primary project from torontos graham bertie. his career began, as many do, with practicing mixing records in his bedroom before cutting his teeth in warehouse raves in montreal. after many collaborations and heavy touring early in his career, bertie has chosen to stay in more than go out, leading to a new direction in his music. dont let this lead you to believe hes a slouch in the live department.

simply great!

spectral sound has assembled four distinctive but complementary producers to flesh out fort romeaus remix, frankfurt versions. remixes coming from roman fluegel,orson wells, massimiliano pagliara and tuff city kids.

for his debut on spectral sound, san francisco dj/producer matrixxman presented a strong and versatile four track ep, amulet.

mark e presents a late-year surprise with avion ep. featuring two new tracks from the producer plus remixes.

incl jtc remix! patricias rough-edged tunes are tailor made for tangible, real-life experiences.

matthew dear continues his resurgence as audion in 2014 with sky / motormouth remixes as he continues to build on last years audion x, a compilation album looking back at a decade of audion material

amulet is rich with analog ideas, and explores his interests in deep chicago moods juxtaposed with techno

producer mark e hails from the west midlands, an area of the uk that was at the heart of the industrial revolution and was also hit hardest by the decline of uk industry in the 1970s, and again by the economic crisis of our own time. its an area with a distinct sound and atmosphere, one that manifests in the music of artists as diverse as black sabbath and the specials, and one that plays into many of the ideas behind mark es new record product of industry.

producer mark e hails from the west midlands, an area of the uk that was at the heart of the industrial revolution and was also hit hardest by the decline of uk industry in the 1970s, and again by the economic crisis of our own time. its an area with a distinct sound and atmosphere, one that manifests in the music of artists as diverse as black sabbath and the specials, and one that plays into many of the ideas behind mark es new record product of industry.

light year came to be, many aeons ago, in a celestial orb - just slightly to the east of australias dance music capital, sydney.

adding to his extensive and diverse catalog, alexi delano delivers his first release for spectral sound. my busted sh-101 is an ode to the beloved and portable synthesizer made by roland in the early 80s, not long before delano started djing. as a producer, he s earned a reputation for being a bit of a machine himself, churning out records on a wide variety of labels over the last 20 years. he holds his own in house music under his a.d.n.y. moniker, but its with tracks such as this one that show off his love for dark, weird techno that sits comfortably alongside spectrals finest.

you dont have enough fingers on one hand to count the number of tadd mullinixs musical aliases. often does an artist want to explore disparate genres, and sometimes they try by releasing under various project names. rarely does this ever work, but its part of mullinixs growing legacy to consistently pull it off with tact, empathy and exuberance.

awesome new vinyl single on spectral with vocals by joe goddard (hot chip) and a remix by tuff city kids.

a warm and affectionate take on the sound of chicago house, mixing thick analog pad sounds with a 4/4 kic

ghostly founder, production maestro and experimental pop visionary matthew dear breaks out a roll call of remixers for the release of *fighting is futile*, the third single off his acclaimed album beams. the single comes accompanied by four remixes, each holding a mirror to the original and refracting it into a surfeit of fascinating new forms.

rising parisian producer yakines career pretty much defines the word eclectic — in his teens, he was a bona fide metalhead, playing guitar in a metal band that toured all over europe, before his love of hip hop steered him in the direction of the dancefloor. he really found his home behind the decks, however, and once he discovered the world of electronic music via the patronage of his brother—who introduced him to the sounds of underground deep house and techno — yakine quickly moved into production. he has since released a series of eps on european labels like esperanza and jetaime records. the rise ep is his first release for spectral sound, a four-track slab of understated, atmospheric techno.

the magic of classic house music has always lain in the way it finds a soul in the machine, eking warm organic sounds from cold circuitry. and tracks dont come much warmer or more organic than >oranges<, a glorious eight-minute slow-burner thats the second single from wolverhampton producer mark es 2011 release stone breaker. >oranges< is a track that demonstrates how the simplest of ingredients — a quietly insistent four-to-the-floor rhythm, an understated bassline, synth pads that sound like the first intimations of a balearic sunrise — can combine to create something remarkable. anyone who has got the cd/digital release of stone breaker, of course, will know this already — but this release is the first chance to own this track on vinyl, as it was absent from the albums lp release. on the flipside is a remix of >oranges< by mark e himself: the appropriately-named space dub, a lindstrøm-esque reworking that transports the track from the dance floor to some distant orbit, drifting through space on a wash of lambent fuzz-toned synths. as different as they are, both tracks share a sense of both space and intimacy, a mellow charm that is evocative and inclusive. a soul in the machine.

ultraphat hypnotic chicago infected floormonster... decks tipp

ryan elliott has long been our not-so-secret weapon, lending his curatorial mastery to the massive spectral sound vol. 3 compilation, megamixingspectral 25, and of course by representing on turntables the world over. but after a mere handful of remix credits, he charges out of the gates with his first spectral production, kicking up. deep bass and snares hurtle ever forward, assisted by occasional, faint sonic flourishes and a bevy of throwback vocal loops, but is otherwise devoid of sustained melody. if nothing impedes the supercharged, supersexual, super-detroit momentum of kicking up, the stablo no. remix dials back the tech and pushes its house to the fore. shakers, claps, echo and a whole lot of lateral motion imbues elliott s take-no-prisoners original with a surprising conviviality.

for all the wonderfully subtle shell-breaking he did on his full-length, mark e falls back on old, slow habits for his new single, >the day<. and welcomely, we might add. pitching things down to a basement lounge floor crawl, the midlands dj/producer wraps his always chugging kicks and snares in serpentine synth-bass, jazzy, tripleted hi-hats, and moaning, wordless soul vocals. its grasp is tantric—hinting coyly at ecstatic release, but never fully delivering. for the vinyl junkies that bought stone breaker and missed out on it the first time around (it was absent from that version), this release should be a no brainer. but >the day< isnt carrying all the weight here. a new track called >special fx< will have sample hounds—particularly those with a thing for classic electro-pop—salivating. and the oft imitated, never replicated prins thomas shows up on the flip for a (naturally) eleven- minute revamp of >the day<, livening up the bass and drum patterns, adding in strings, piano, guitar, organ, and ending up with something that totally could have emanated from a camaro at some point in the early seventies. (albeit, one owned by someone with interest in eleven-minute instrumentals.) it even has a fade out!

benoit & sergio dont make dance tracks—they tell stories. in the washington dc duos music, a sense of place and narrative infuse their rhythms and melodies, transcending having flexed their synth-pop muscles on releases for dfa (the acclaimed boy trouble ep) and visionquest (the lovelorn where the freaks have no name ep), dc duo benoit & sergio return to spectral sound for a victory lap around the dancefloor. and >let me count the ways< is just that, sounding every bit the perfect, hands-in-the-air final anthem of the evening. tireless hi-hats push the beat onward and dreamy synthesized strings saturate the stereo space as sergio intones, >let me count the ways / the ways that ive loved.< as the line repeats, its meaning bends to fit the songs tone of endless, time-suspended romance: its not the loves that matter in the end, but the ways. its not the destination, but the journey. the b-sides >let me count the ways (autumn version)<is a vastly different take on the original?s maximalist swell. stripping the beat back to its bare essentials and building them up again over nearly 12 minutes, the >autumn version< recalls arthur russell?s more minimal moments down to its wobbly bass filigree and mumbled vocal samples. by the end of the track, the claps are falling on the twos and fours like crinkly foliage, synths are sizzling like firewood, and benoit & sergio?s newest banger is revealed in its full glory once again.

super disco album von raw chicago bis ganz zart und vor allem ganz deep...

the >midnight peopleö< 12inch includes two careening techno remixes by technasia, in which the paris-based producer sends the track spinning into the delirious, club-amped stratosphere. >technasia dub 1< features a series of head-spinning climaxes, >technasia dub 2< specializes in shoulder-rolling syncopation

the third and final installment of spectral sounds document 12inch series offers four choice cuts from our era-defining, ryan elliott-curated label comp. kassem mosses remix of lawrences >divided< is a fiendishly tight slow-burner, fitting its ricky-ticky hi-hats and sharp-edged snares together like cogs in a swiss watch. the german producer twists parts around, testing various permutations, and rewards his patient listeners with a dusting of synthesized bliss at the end. heiroglyphic beings rust-flecked >got no place to go< traffics in humid ambience and smoggy gestures, evoking a post-apocalyptic dawn, distant bird calls and all. on the flip, spectral newcomer gadi mizrahis masterful >she only looks at you< hints at krautrock and tech-house while a thoughtful organ hums in the background, and kate simkos buoyant >zhivago< plays ping-pong with a bucket of electronic toms while a crowd-revving synth swell makes itself useful at just the right moment.

after a two-year wait since tadd mullinixs last release as james t. cotton, the man storms back with on time, four tracks packed with more music than any ep has a right to. the titular first cut announces itself with tight jacks and bouncing bass before a male voice begins an endless >on time< mantra, twisting and churning furiously through more than eight minutes. the short n sweet >octopus< mines drexciya territory with granular synths and washes of static. >on time (rick wades grimetime remix)< is a decidedly sexy, nocturnal house reinvention of the original, pushing languorous keys to the fore. >jak your own stars< builds slowly with rubberband bass, cowbells, and an 8-bit melody till some nasty 808s toy with the funk.

document captures spectral sound circa 2010, at a peak in the labels almost decade-long evolution. and although spectral sound,s sonic footprint is forever in flux, its mission has been the same since day one: we want to provide uncompromising, forward-thinking, dancefloor-oriented music thats relevant and cutting-edge on a global scale, elliott says.

naming your first release after your band is an auspicious way to introduce oneself, to say the least, but birds & souls have done just that-and the results more than live up to their sensational packaging. birds & souls lead single >birds & souls< (from the debut birds & souls ep on spectral sound) is an exuberant track built more for rock shows than dancefloors, charting a journey from giddy, congas-and-claves house to synth-drenched space disco to ecstatic arpeggiated bliss and back again.

spooky darker minimal techno with acid influences >> dj plays by koze, the hacker, erol alkan, laurent garnier... special backstock !!!

the second 12inch release in advance of spectral sounds label-defining document compilation features two tracks of dark, disorienting techno -the kind of tracks that act as both extradimensional portals and late-night anthems.

gadi mizrahis first ep embodies the kind of musical promiscuity that informs the parties and label output generated as one half of nycs infamous wolf+lamb duo. a languorous, supple pulse, before introducing a surprising degree of musicality and complexity-the nominal disco doesnt just reward frequent listens, it demands it-for such an effortlessly inviting work. all told, i can never get enough makes for a wild ride and a blindingly bright debut from mizrahi

so sorry, its sold out !!!it was ultra limited and no repress !!!

document, pt. 1 is the first in a series of 12 inch s highlighting the established and new breed of talented artists from the spectral sound roster. a cd version compiling these producers with exclusive content will also be out in the spring. this 12 inch is all about the funky grooves build inside the high-quality production and includes tracks by seth troxler feat. matthew dear, ryan crosson and lee curtis as well as a martinez remix

jabberjaw aka matthew dear with a 3 track ep ... full of groovin hypnotic flavours

lee curtiss and spectral sound have been running in the same pack for years-&#64257,,nally, after suf&#64257,,ciently circling each other and snif&#64257,,ng each others business, spectral and lee have joined forces to release the detroit producers the black door ep, and it s a doozy. lee curtiss traf&#64257,,cs in airtight, undeniable dance tracks with a tricksters sense of experimentation-the black door ep is all that and more, a beguiling 12 inch whose charms multiply with each listen. >black door beauty< opens side a with a touch of chicago futurism, spinning congas, staccato vocal samples, and a swift dusting of hi-hats into a house anthem with psychedelic undertones. berlin producer dyed soundoroms remix minimizes the sub-bass thump and plays up the tracks oddball trappings, tricking out >black door beauty< with the sounds of creaking hinges, neurotic synthesizers, and a particularly creepy chorus of hysterical tittering. b-side >smoking mirrors< guides the listener through clouds of melting organ tones and busy, polyrhythmic click-clack as a sturdy bassline (with a funky, french-house beat skip) cuts through the haze. curtiss lets the rhythm do the work, building to multiple climaxes in the span of seven minutes. at the end of each anxious buildup, there s a womans breathless moan, a let-the-air-out-of-the-tires hiss, and it s time to do it all over again.

seth troxlers panic, stop. repeat! ep brings together all facets of the young berlin-via-detroit producers notoriously brilliant/bizarre persona, offering two new tracks (and one house-y remix) of sweaty, ecstatic dance music with a dirty mind and a heart of gold. >panic, stop. repeat!< uses its titular command as a guiding principle, eroding its own immaculate facade through a series of anxious freakouts. the track rolls along like a freight train with aloose screw-designed for precision and speed, but with mechanical parts that constantly jiggle free and whiz off into the stratosphere. as a leathery kick drum and a wickedly simple two-note bassline keep the pace, >panic, stop. repeat!< takes a series of surreal detours involving an ekg machine, a ladys feverish coos, and one particularly old-school sci-fi synth. next up, troxler melds minds with matthew dear on the collaborative >hurt<, a sexy beast of a track featuring bone-dry drum machines, a huge lead tom-tom, and dears terrifyingly deep spoken-word musings. paco osunas remix of >panic, stop. repeat!< rounds out the ep with an exhilarating take on troxlers original, building a subversive house creeper around panics heavy-breathing leading lady.

the third release in audions slow-drip of new music is a devastating trifecta, a trio of tracks that hit hard and leave a mark. with each taste of the new audion, it becomes clear that matthew dears dancefloor alias is deeper, darker and more nuanced than ever before while maintaining a lose-your-mind edge that is impossible to resist.

the >take you there ep< is yet another entry into simkos growing catalogue of immaculately arranged dance music-light-ontheir- feet but dark-of-heart dance tracks whose precision individual elements build upon one another, combining and re-combining into a greater whole

bodycode reveals tight, jacking rhythms and romantic dancefloor universalism. on baby fords remix of >what did you say?<, the legendary uk acid-house pioneer drags the tempo down to a crawl and beefs up the bass, giving the track the distant, slo-mo feel of walking underwater

next spectral slammer!!! einmal schmachtender disco house, ein klassischer house track, ein genialer techno track und ein pfiffiger arto mwambe mix gehören zum inventar der >hovercrafting ep<. damit kann man schon mal übers wasser schweben

auf der >divided ep< frönt peter kersten aka lawrence einmal mehr seiner grossen leidenschaft, zeitlos-tiefe musik in die rillen zu zaubern. das ganze tut er auf drei verschiedene arten und weiß dabei wie immer zu berühren und zu bewegen. tolle platte

onur Özer remixed audion, barem darf bei kate simko ran und lucio aquilina verpasst daso ein update. von orientalischen minimal über entschlackten techno bis zur housigen variante ist für jeden was dabei

broker/dealer melden sich mit einer gewohnt sanften minimalhouse platte zurück. träumerisch undmelodieverliebt, aber dennoch fest der tanzfläche verpflichtet. mit thomas fehlmann remix!

nach dem sensationellen hit von mathew dear >dog days< im jahre 2003, haben sich viele produzenten gestritten hier remixe machen zu dürfen. nach 5 jahren ist es dann soweit. dj sneak, phil weeks & chris carrier haben es geschafft. sie haben alles gegeben, und es sind wirklich tolle remixe geworden!

noch n hit! swingender singsang-burner, totaler ohrwurm, sehr ernergetisch. mit pantytec remix an bord

with the electronic justice 12inch, james t. cotton and d_marc cantu saw off another thick slab of classic chicago acid. opener >1mg< is a relentless teutonic grind, tightly constructed yet engraved with enough subversive tweaks to hint at the most experimental urges of james t. cotton_s other persona, tadd mullinix. >werkin house< and >static vision< follow close behind with the brooding squelch of a 303. and if these take us deep inside the darkest warehouse, then the title track reveals the inner depths of the artists themselves. >electronic justice< may well be 2am/fm_s manifesto, a rolling vocal creeper whose laser-beam pulses ebb and flow around a synthesized mantra: >experimental vision/ this is us, who we are/ this is our religion.< fitting words to chant, shout, or whisper in the flicker of a strobe at 2am, after all..

eine unwiderstehliche kraft & faszinierende schönheit geht von >saphire< aus dessen sog man sich nur schwer entziehen kann. das ändert sich auch im daso & pawas remix nicht. tolle vorstellung vom skandinavier

genau wie >mouth to mouth< das wie ein tödlicher virus um die welt ging gibt es nun erste medizinische hinweise, dass >billy says go< einen ähnlichen schaden anrichten wird. die ersten opfer heissen extrawelt, agoria, shonky, italoboyz, marcel dettmann, sascha funke, ellen allien, claude von stroke und das gesamte kompakt büro. hilfeeeeee !

the death is nothing train keeps rolling with four new cuts, from both spectral mainstays and a few suprises..

ein sehr angenehmes, unaufgeregtes titelstück und ein fescher remix des smarten franzosen schatrax machen diese 12inch eindeutig zur stilvollsten platte der woche. platz 1 in den vogue charts

zeitloser klassiker der matthew dear s microhousige seite zeigt, bevor er anfing als audion clubhits zu produzieren

auf der zweiten ep entführt matthew seinen sound in eine dunkle ecke und zerreist ihn in seine bestandteile. fünf stücke, fünf mal dreckigen & minimal

noch n hit! swingender singsang-burner, totaler ohrwurm, sehr ernergetisch. mit pantytec remix an bord

hypnotischer techno der sich aufbaut bis sich die spannung in einer metallischen synthie melodie entlädt. gentleman techno würde james bond das nennen. auf der flip konnte man ryan elliot für einen remix gewinnen der sich hübsch an die vorgaben hält

osborne bietet einen vorgeschmack auf sein kommendes album und macht klar, dass es um house geht. mal modern, souverän und kosmopolitisch und dann wieder retro, charmant und jovial

zweites album von cotton für spectral. fuer freunde des old-school chicago & acidhouse ein tipp !! james t.cotton bringt seine düsteren techno visionen auf vordermann. ein neues verständnis des alten >jack< themas ist seine mission und die erfüllt er ohne in billige klischees abzudriften...

death is nothing to fear 3 is the third installment of spectral sounds compilation series, focused on bringing forward new voices in the world of techno. brought together by an equally brash and nuanced take on tonal manipulation, the four artists presented here - finlands sami koivikko, berlin- by - way - of detroits seth troxler, chicagos kate simko and ann arbors 2am/fm (james t. cotton and d marc cantu) - contribute a vast yet tightly controlled understanding of the compilations theme. what unfolds is a tough and modern ride through international techno and house.

ultracool clickin deeper detroit like tech tracks!! with his amazing talent and prolificacy, geoff white sets the standard in the techno realm. white is a producer, dj, and live performer, always branching out into new musical territory and realizing his ambitious aspirations

stoming minimal phunin techno , incl marcel dettmann & ben e klock remix (very old fashioned chicago style)

daso franke with the first 12 inch for spectral, following previous releases on mbf, session deluxe, connaisseur & flash recordings. played by pascal feos, dirt crew, piemont, brett johnson, marc romboy, florian meindl, falko brocksieper and many other

osborne mit einem ekstatischen neo-acidmonster mit >can u feeeel it< qualitäten. ein hoch emotionaler party-beglücker, mit langer halbwertszeit. luke vibert steuert einen kongenialen houseremix bei, der die jahre 1987 bis 91 herbeizitiert. nominiert für den nostalgie-award 2007

part 2 with more darkish acidic / minmal techno madness

next smasher 12inch from detroits audion whose mouth to mouth was played by richie hawtin, sven väth, ricardo villalobos, sasha, chemical brothers, dj koze, magda, erol alkan and countless others... here comes two brandnew floorburning tracks !!

rmxs by heartthrob & konrad black !!! +++ massive support by richie hawtin & sven väth

dj support: loco dice, troy pierce, kiki, gus gus... new track from audion, aka matthew dear, his first since 2006s chart-topping >mouth to mouth< & exclusive tracks from bodycode aka portable and par grindvik who has released on adam beyer s drumcode label . distinct spooky, tribal rhythms

gnadenlos fetter sägezahn hypnotizer aus finnland... naja oder so.. auf jeden fall durfte die tanzfläche keinen raum zum handyweitwurf liefern! drei ganz dicke tracks , das steht fest !!

audion aka matthew dear with one of the biggest tracks in 2006 (mouth to mouth)!!! already played by richie hawtin, magda, troy pierce, sven väth, adam beyer, anja schneider (mobilee rec) ,tobi neumann, lee burridge !!!

spooky darker minimal techno with acid influences part 2 !!

aka portable aka alan abrhams with slinky minimal rhythms electronic tracks with a little puming feeling..

new tracks from mathew dear + owner of bpitch control. dear emphasizes the strongest elements of his audion guise while allien serves up a fine slice of noir electro. each then reworks the others

huge minimal funky driven tech traxx

killer tunes !! brill acidized minimal madness !!!

back by public demand, coolest jackin h chicago stuff (osborne) meets slamming detroit madness (dmx krew)

brill minimal electro classixx

brill minimal crunch techhouse / technostomper

amidst the maelstrom of aliases adopted by detroits prodigious and prolific mmaatttthheeww ddeeaarr, audion is undoubtedly the grittiest -- a dark representation of dears id and a brain undone. the singles kisses,the pongand just fuckinghave earned immense praise for their serrated approach to heavy 4/4 techno, bringing untamed synths and raucous beats into a devastating melange. all three songs appear on the suckfish full-length alongside eight other dancefloor burners that also work on the listening/psychedelic level, making for one of dears strongest and most distinctive releases to date

the third chapter in matthew dear s audion 12inch series is here, the true precursor to this fall’s suckfish lp. potentially the most insane and dancefloor-destroying of the group, following the already classic eps kisses and the pong. this is the sound of matthew dear s subconscious coming to life. mule-kick beats, dirty synth squelch and a bass roll-out that has already rocked everywhere from detroit to berlin. roman flügel (of alter ego fame) delivers a summer party-ready club bomber with his 23 positions in a one-night stand mix, which strips the original down to its essential elements but keeps the infectious energy of the original. guaranteed to rock. you have been warned

brill double cd set ... first cd with classic & unmixed tracks, second cd with a stunning dj mix by rayn elliott @ club map, michigan... amazing

super deep groovin detroit tech-trax

incl tracks by james t cotton, audion, matthew dear, geoff white, osbourne, the vanisher, peter grummich, jeff samuel...

eine ansammlung von tracks, die immer ins bein gehen aber auch jeden kopf zum rauchen bringen. jede menge verspielte rhythmische details in forschem tempo, dass einem ganz schwindelig wird

great spectral rec logo shirt ... thank you to the ghostly gang

great spectral rec logo shirt ... thank you to the ghostly gang

great spectral rec logo shirt ... thank you to the ghostly gang

great spectral rec logo shirt ... thank you to the ghostly gang