let the machines do the work (ltmdtw) are a 4 piece electronic out&#64257,,,,t that have a crazed obsession for all things analog. not the, i am into analog cause its cool, but a crazed obsession. simply step into their studio and you will be whisked away from the digital age in a heart beat as a haze of humming transistors and burnishing outboards drape you in a warm welcoming embrace. one love / brighter day is their debut release on the grass roots inspired blah blah blah records and it delivers a heavy and welcoming thump to the chest, forget thin digital beats, this is big phat dance&#64258,,,,oor house, dynamic, luxurious and seductively wanton.

constantin xenakis work possesses exactly what i really love about intelligent electronic music. its stylishly repetitive, coded, mechanical but, at the same time, very organic and playful. this is how argyris theofilis, also known as zodiac free arts club, explains his fascination with european artist constantin xenakis. born in cairo, xenakis work often includes written script, in particular symbols andcodes of everyday life, traffic signs, alchemy, the zodiac, mathematical and chemical symbols, egyptian hieroglyphics as well as letters from the greek, phoenician, hebrew and arabic alphabets.a balance between human and inhuman that makes his art somehow mystical. after becoming fixated by xenakis, the greek music producer searched and eventually met him for the first time in 2012. after several meetings in paris and athens, they both decided to present structures + codes, a concept album conceived as an homage to the painters vision. each one of the eight songs in the album corresponds to a painting by xenakis, translating its intricate shapes and patterns into spirit-lifting compositions filled with elliptic arpeggios, repetitive drum machines and esoteric melodies in proper kosmische manner. but this is not a mere exercise in style. as xenakis paintings, its music that transcends its own codes to become an esoteric experience. this record should be heard comfortably.

the first vinyl version of the upcoming cd album with some magical works of unit moebius. this first 12inch contains some of their hottest tracks including the legendary >world goes around<, an evil cover of a classic chicagohouse track by cool mccool. the flip side contains the more deeper side from their first releases. for those who were there in those years 91/92/93, at the famous parties in the hague and rotterdam, this is a walk down memory lane, for those to young or living in other parts of the world... imagine these tracks in a dark, very dark sweaty basement with only strobe light and smoke machines, camouflage nets, and jacking acid and techno sounds for more then 10 ours. djs such as i-f, serge, schmerzlabor, peter ptau ptau and live acts such as unit moebius played the hottest and freshest music all night long until you lost your sense of time and place and ended in a total mind trip. the pure essence of house and techno! the golden years :-)

featuring new material and recorded in the bands isolated studio on the edge of the essex marshes, the album ebbs and flows in mood like the nearby blackwater estuary. working with a palette of vintage drum machines, analogue synths, textural samples, acoustic recordings, electric bass & heavily treated guitar, the songs were born out of captured live studio performances.

asc decided it was time to return to the music that he grew up on. with a gentle nudge from presha, the breakbeats were back in the mix and a slew of mid 90’s-inspired drum & bass ensued. the majority of the heavier break-oriented and edit-ladened were set aside for projects with samurai, however, there were a grip of tracks that were more at home with the older atmospheric / intelligent styles of drum & bass from the mid 90’s. ideasthesia is the culmination of that work. four tracks of atmospheric drum & bass in its most unadulterated form. no drum machines at work here, just sped up breakbeats, heavy 808 bass, blissful pads, and ethereal textures. ideasthesia is a true love letter to a golden age of music which sadly seems long forgotten.

a regular contributor to figure spc, it was jeroen search who both started the series and also put an end to its story. with this creative chapter neatly closed, he is now bringing his ever-impressive work back to the main label. across the ep the dutch artist doesn’t stick to one style, instead he lets his infamous machines roam about freely. they take us for a smooth ride along swaying dub chords and gentle ripples until bellowing eches slowly rise above a hypnotic groove.?on the b-side search then pulls out all the stops and barges right in with fidgety claps and whirling bleeps, leaving the track itself gasping for air. this is the renowned ferocity of his live act - carved into wax! ensuing the sonic assault, a simple synth figure emerges stoically over an almost housy bounce as nostalgic rave strings bring the ep to an epic ending. firmly rooted in the past while always looking forward, jeroen search clearly is still on the top of his game. he simply keeps coming up with timeless techno - time and time again.

5 x 12 inches each in picture sleeves all contained n a boxset case.
hand numbered 1-500
in recent years, adam beyer has been propelled into the limelight with his pristine productions, astounding dj sets and his fun, energetic drumcode events. now a figurehead in the techno world, beyer is constantly building the drumcode platform brick-by-brick to maintain quality and drive emerging new talent into the world of techno. the first drumcode bricks that were laid were done so on a solid foundation of raw techno tracks produced by beyer himself. a select few of these vintage tracks have now been remastered and repressed to create a unique vinyl boxset that highlights the talent that is adam beyer. comprising of 21 original tracks that helped put drumcode on the map, this special boxset of classic tracks includes compressed , tasty bits , nutcrusch and more. the tracks encompass a heavier techno sound of dirty, gritty analogue machines that let beyer express himself through music and have so forth, seen him become the king of swedish techno

anaxander make a welcome return to local talk following the mighty local talking ep released earlier this year which got support from heavy weights like rolando, ben sims, recloose, ben westbeech and many more. on this release he drops the bpms and let the machines do the talking. both candy stand and my aniseed lollipop are perfect examples of how to lay down an acid track sparse but bold percussion frameworks to contain that all important, tension laced 303 work - perfect for ballrooms and basements alike!

cd in 6-panel digipak printed in three pantone colours. featuring all-new material and recorded in the bands isolated studio on the edge of the essex marshes, the album ebbs and flows in mood like the nearby blackwater estuary. working with a palette of vintage drum machines, analogue synths, textural samples, acoustic recordings, electric bass & heavily treated guitar, the songs were born out of captured live studio performances.

iron curtis back catalogue is a formidable beast within the realms of deep and tech house, touching on labels like morris audio, jackoff, sudden drop and mule electronique. he s intermittently popped up on hudd traxx as well, and he returns with a fulsome new ep that hints at a forthcoming second part.lights- is a bold, chiseled peak timer with some emphatic string stabs coursing through it, while captured takes a slinkier route without dulling the impact of the curtis studio approach. 22 days is a funkier concern that lets the low end synths do the brunt of the work, and then my humming machines rounds the ep off with a warm and bubbling deep house roller for a cosier part of the night.

automatic writing is an alleged psychic ability allowing a person to produce music without consciously writing it, arising from a subconscious, spiritual or supernatural source. from surrealists cadavre exquis to herberts lets all make mistakes, artistic creation has always been driven by accidents, experimentations and unconscious bursts of creativity. advocating for a minimal aesthetic in club music, automatic writing is an imprint dedicated to present the work of emerging dj/producers from the minimal house scene, along with more experienced artists on the remix duty. our sound is shaped by a collection of musical memories, a random harmony in noises coming from machines and field recordings, written to echo in minds and clubs. for our first release, we are thrilled to present you the debut ep of paris-based producer murphie cooper, along with vadim svobodas own interpretation, blending elements of murphies original cuts all together. 4 groovy fragments of imagination, automatically written on 180gr of wax.

title track joyride kicks things off with a straight up 909 beat, complete with scifi sweeps and classic wood block percussion, quickly working its way into an very subtle groove with every element working effectively to keep it fully funk laden. sideways completes the a side of the release and gets going right from the beginning. pumping percussion takes hold and hits the ground running before a perfectly weighted synth hook lashes over the top with henning playing with the synths lfo to creative effect. dust takes things down a notch as swirling pads drape themselves over a serious 909 beat. henning lets this one loop out, letting the subtle variations in the synths do the work as the 909 holds the beat solid and reminiscent of early berlin/detroit dub techno crossovers. mars attacks closes of the ep and does so in particularly fine fashion. a more broken beat affair this time from henning and he really works his machines into a sonic warfare of bass tones and tweaked out synths that sear through the crashing percussion workout.

another day, another motherfuckin dab-j! well, their release roster might not be that prolific, but well not let reason interfere with rhyme. and you guessed it: its another shadowy figure lifted from obscurity like a golden pearl plucked from the deepest depths of the ocean. could it be the work of an infamous producer, or the product of a hobo wizard whos borrowed a few machines from a home-owning friend? only thedabj illuminati know this. and the fact that they also have a sense of humor means that we can keep getting away with writing these increasingly ridiculous press releases. it also gives us reason to assume that the entire dabj back catalogue is the work of an 85 year old woman. o.d.d: ol dirty debra working that danceflo heat. but more than likely its not on a geriatric junt tip.

van bonn returns after his release maserung on telrae in april 2011. van bonn has been in the studio a lot since then and has worked on a number of tracks that are highlighted here. onwards i is an excursion into sound. it starts with sounds that interact in a subtle way but then as if by magic, suddenly it rises to a much higher energy level, almost pulling you by the hair. chords now kick in with the full force of brutality, like the strikes of london’s big ben and then you’d think the track will just burst. van bonn makes another turn before he lets the drums break loose. it seems as if van bonn is taming the brutality and direction of his electronic machines. abstract now meets the concrete and whoever wins the fight is up to the listener to decide. the first remix comes by raffaele attanasio who has had considerable success with der pianist and i m a jazzman and has collaborated with trapez ltd artist mihalis safras, a. trebor (trapez), as well as claude young, nic fanciulli and has shown his versatility throughout the last 3 years. juan atkins recently featured raffaele attanasio remix of no mans land by a. trebor in his charts.his remix for van bonn keeps up a strong beat programming right from the beginning. a beat monster so to speak is alive from the beginning and kicking. the track is written in a style that shows expansion and contraction and through that shows an organic breathing quality.

nice price deal !!! second in the all-analogue cave paintings series where raw machine funk workouts are very much the order of the day. >2x< takes up where 1y left off and adds a sinister backwards-sweeping synth line to turn heads to jelly while the limbs carry on jacking to the syncopated percussion and insistent one-note bassline. >2y< is all but completely enveloped by a warm, deep, resonating bassline which is so wall-to-wall that it leaves plenty of room for the intricate, interlocking percussion to create a body-hypnotic groove. cave paintings - letting the machines decide.