90s influenced techno/electro

lowlandish transmissions from the land of a thousand lakes.

black yukon sucker punch with the 4th release on his label, skynet providing remix support. the vinyl release includes includes a download code.

nicola cruz lands on rhythm section, green coloured vinyl

4 cuts of atmospheric electro and breakbeats from barcelona.

yonder kids get a deserved spotlight 20 years after the journey suddenly stopped. a musical legacy which could have been lost in the background noise of time is finally edited, mastered and cut into vinyl.

following the success of recent novamute releases by charlotte de witte and anna, nicolas has delivered a stellar techno ep. will appeal to fans of ricardo villalobos, len faki, ben sims, jay lumen, charlotte de witte, anna, chris liebing limited edition 12inch vinyl part 1 of a 2 ep series. bougaïeff returns to novamute with permutation djinn inspired by greg egans sci-fi novel permutation city. a follow up ep will be released later this year. following the success of recent novamute releases by charlotte de witte and anna, nicolas has delivered a stellar techno ep. bougaieffs interpretation on permutation djinn attempts to translate the stages of egans novel into music while respecting the constraints of making club friendly tracks. the opener woke up as a copy is an expansive track with blade runneresque metallic reverberations. panic time tryout is a peak time cut, fostering the futurist atmosphere with an unsettling melody. little djinn is the most frenetic of the tracks whilst no escape takes it back to peak time with resounding drums and drills.

we here at french press lounge are very pleased to share our latest release by florida-born, california based producer and professor neoprene with a debut 12” titled “possibility spaces”.
propelled by pure state aesthetics, spatial theoretics and a fondness of ferns, neoprene (amongst several other musical monikers and permutations) has been crafting and perfecting outer-world electronics since 2011 through their highly slept-upon digital and cassette label ashtar communications. “possibility spaces” is their debut 12”, a collection of cherry picked tracks created in chicago during their barista residency of 2015 - heavy points of dark matter gliding across a delicate, semi-permeable surface of unidentified experience. where others simply trawl the tropes of a rave culture gone by, neoprene bends into the best assets of house, hardcore and breaks and pulls up through a dense fog of floral new age ambience, creating a one-of-a-kind approach to expository techno.

when hitting a streak it s best to keep going. for a prolific producer like ubx127 one ep just wasn t enough to keep up with his continuous output of high quality techno. constant permutation part 2 picks up where its predecessor left off and provides for another batch of deadly club weapons. living up to its title, beatless explorations sends out eerie signals deep into outer space, anticipating with suspense to maybe find some life form s response. it arrives in form of driving track felt and its ricocheting, arpeggiated synths, which would aptly soundtrack the decent of alien attack ships on our planet. weighty, yet mysterious Örnsberg seems to echo with the cries of long lost souls that have been trapped eternally inside its icy caverns. the ep ends with a masterclass in immersive sound design, a constant ebb and flow of layers, winding their way into the listeners subconscious. filling up a pair of twelves to the brim with tunes this well thought out and executed, ubx127 further displays his vast potential and leaves us with excitement for whatever he might be coming up with next.

popping up for the first time on figure spc y, it was the remarkable synth-work of ubx127 that instantly struck a chord with the labels demand for substantial techno. now the stockholm artist proves himself loyal and hits back twofold with a pair of eps that further highlight his mastery of both vivid modulation and effective sequencing. leading into this batch of new tunes are the crafty and beautifully fleshed-out synth-arpeggios of opener han, which ubx127 complements gracefully by adding tender touches of melody. a2 cut create and destroy displays a new side to the producer that verges on the manic, building upon a swirling theme that soon flies into a lunatic frenzy. soothing then are the spacious sounds of barabrus, a crisp piece of floating breakbeats and shoving sub-bass. living up to its name, swells starts as a bold synth-led groove and slowly grows into a romping beast that rebels against glistening sonic whiplashes. even in its own right constant permutation part 1 stands as a cohesive and compelling record that will add to any collection. but with its equally strong successor already waiting in the wings, it is ubx127 himself who will make a lasting impression.

by now, the story of how jlin went from working in a steel factory in gary, indiana to being one of the most widely appreciated electronic musicians is well known. “black origami” was one of the most lauded albums last year. seriously prolific and seriously hard-working, she has toured constantly since its may 2017 release and despite being involved in a wide range of projects, still manages to find a balance and time to “do some personal healing and growing.”
here we are over a year later with “autobiography,” the score for her collaboration with renowned british choreographer wayne mcgregor (a collaboration arranged by krakow’s unsound). this isn’t technically her third album (that’s due to arrive in 2019 or 2020), but the soundtrack stands up on its own with all the emotional peaks and troughs of a well-sequenced lp.

brand new label from new york, feat l. sangre and silent servant. limit-xperience limit-xperience is a culmination of formative experiences as well as present of evolving influences of silent servant & l.sangre. the two tap into both their distinct shared points of view, as well as integrating of the space where their individual inclinations lie. a joint expression of driven electronic music, and eras since passed filter thru and draw from electro, techno, industrial, and more of their musical fundamentals. in similarities as well as differences, their coming together allows for a permutation that is their own.

• zomby’s near-mythical album of eski grime permutations, created in an intense two week period sometime around 2008-2009
• 16 quickfire shots of wiley-meets-isaac newton in hyperspace
• master and lacquer cut by matt colton @ alchemy
•limited edition vinyl

restive plaggona is the music project of the corfu-based artist dimitris doukas –also producing under matriarchy roots, leftina osha and plaggona-. after releasing a series of cassettes in different labels along 2016 and 2017 –including his own several minor promises- “leaving the body” arrives as an electronic composition of beats and synthesizer bodies disguised as a sense of provocation and mystery. each of the seven pieces offers more than a smattering of interesting textures separated by spans of great decline, but a master class of permutations in-between accompanying sounds, stretching rhythms and viscera-and- violence noises. driven by a deeply expressive narrative, restive plaggona makes a strong statement about his post-industrial vision adding technoid inclinations in a delightful dystopian world.

lf rmx arrives as new non-profit platform which will share only edits originally made by len faki for playing in his dj sets. what began as small technical tweaks has since grown into passionate work, the edits eventually becoming an important staple to the special feel and flow of the figure head’s well-renowned approach to djing. the series’ first release features the rework of dj bone’s 2016 slammer ‘black patterns’, whose heavily rolling nature the hardspace mix builds upon. keeping the oldschool drums’ weighty feel, len faki gives his a edit a more compact shell and punchy edge. the centerpiece piano stabs also reign over this version, albeit rising in a glimming, glistening fashion, making it a definite choice for this summer. the hardspace tool on the other side steers clear of piano and vocal, rather developing a lively sequence of unmistakenly len faki-styled, vigorous percussive permutations. as this project is very much a matter of the heart, and as much about honoring the orignal artists’ work as it is about sharing the edits with a wider audience, there will be no monetary gain involved. instead all the proceeds will be donated fully to straßenkinder e.v., a berlin organization fighting against child poverty

ltd to 100

bubble clocks opens with the sublime talking proud beautifully built around a vocal sample from one of jazz s undisputed greats, nina simone. the title track bubble clocks is over 9 minutes of dream psychedelic bass music. turn on, tune in, bliss out. punchlines is a rave/bass crossover peak time bomb, and output, the closing track is 10 minutes of totally individual vision, taking a convoluted idea and teasing it out in all its permutations. a major talent in the making who has been showing promise, delivers on this ep.

part 2 concludes killawatts largest body of music to date, the opposing rhetoric ep, a 6 track opus of truly progressive uk underground sound that melds his influences from dubstep and techno with expansive, high-tension sound design. the eps second triplet of beats feature his most overtly techno-focussed sounds yet, expanding his horizons and dropping the pace down to 125bpm, and delivers punishing dancefloor rigidity and bass-immersed sonic force. on black air, killawatt threads tightly coiled syncopations above a grinding 4×4 structure, and delivers a near-cacophonic but ultimately heavy full-sensory overload. the flipside is divided between the churning swell of dark industrial aesthetics on art of discourse, and the moody permutations of reactive technique, where rippling melodic shimmers provide accentuation to its pounding sub-density.

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.

literon and ovatow exchanged elements for this ultra heavy dub techno release. permutation one is literons original take and is build on an outstanding punchy groove with a sort of oldschool-ish club vibe, and with multiple layers of dub effects sprinkled on top of that. this is peak time techno at its best. ovatow takes us way deeper with permutation two. taking the original elements and drown them in gated effect processors and reshaping it to a deep, smokey, bass heavy monster that carries his unique and delicate sound signature. check!

polymetric permutations at 150bpm - the new album from beatrice dillon.

limited edition double vinyl, cut at 45rpm. housed in a gatefold sleeve with download code and sticker sheet included.
soulwax emerge with news of forthcoming musical endeavours, the soundtrack for belgica - a new film by oscar nominated director, felix van groeningen. the film sees soulwax’s influence throughout from composing, arranging and recording the original score to creating each and every one of the fictional musical artists featured. a diverse collection of songs, performed by a similarly varied set of artists has seen soulwax create what is a unique soundtrack that continues to see them evolve as one of music’s leading musical protagonists. all the music was recorded and mixed at soulwax’s new deewee studio hq in ghent, where every release is mixed and produced (and sometime written and recorded) by stephen and david dewaele.

simon says co-founder of dialect recordings, part of il est vilaine project. released in 2005 on battle with chloe, 2006 on art brut closer to the red ep with tim paris remix. mix by blackjoy & simon says. mastered optimum by shawn for vinyl cut. artwork by apollo thomas.

nathan fake and wesley matsell are both producers best known for their releases on border community - nathan fake has been putting out psychedelic permutations on dance music since 2003 for the label, while matsell recently released the blissful total order of being ep for them earlier in 2014. cambria instruments is a new label venture from the pair, and for the first release they have teamed up for a split 12- of kaleidoscopic electronic sounds. nathan fake s contribution black drift starts things off, an initially inauspicious tripping beat gathering momentum and morphing into a far-out piece of fuzzy house underpinned by sunken low-end rumbles. it s the kind of brilliantly wide-eyed track we have come to expect from the producer. over on the flip, wesley matsell s bismuth is a more shadowy, moody affair, a tight techno rhythm holding things together while synths spin wildly. a highly expressive, lysergic trip and one of his finest productions to date. all in all, you couldn t hope for a stronger start from a new label.

discrete formants ii zooms the audience deep into underwater landscapes, from bizarre and seemingly endless open space down to the finest organized microcosms. five tracks full of analogue warmth and idiosyncratic modular synthesizer interaction that are driven by semantic coupling between major phases and small details. as most dscrt acoustic patterns are growing characteristic complexity by situational combination and permutation of interacting sound sets, the 300 copies of this release are double-stamped, hand numbered and pressed in blue marbled vinyl, returning each piece of them to the product of a unique moment in space and time.

having made a name for himself as a heavyweight dub, ambient and techno producer as conforce, versalife and silent harbour, boris bunnik is now branching out into label ownership with julius de wal. the imprint will be called transcendent, will be vinyl only and aims to focus on deep and abstract mental sound excursions.
this is a very limited release of only 150 copies worldwide with no repress at all.

the irrepressible cobblestone jazz present the first single from their debut album >23 seconds<, forthcoming in september on wagon repair. cobblestone jazz produce their tracks live, with a strong emphasis on improvisation, and the trio of programmer tyger dhula, keyboardists danuel tate and mathew jonson, make full use of their formative jazz training to transform the musical outfit into a pragmatic and responsive unit, a living and breathing creation, free of formulaic sequence. >lime in da coco nut< is a potion brimming with transformation. cobblestone approach a simple key melody from every angle imaginable, with the harmonies, disharmonies, bubbling accents and rhythmic permutations exposing the otherworldly potential of the simplest of tunes. a sinister whispered vocal conducts affairs, seemingly flustered at its inability to contain the unruly elements in this wonderful experiment. on >saturday night< a deep synth line and ghostly vocoded moans progress through a jungle of percussion and falling echoed tones, steadily approaching a beat that enlivens like water on a desert journey, or rather, like vodka on a saturday night. the dizzy finale spins around your ears, a bit like the ceiling after a particularly heavy weekend adventure… be sure to be well rested before tackling this sensory safari

phreaky minimal bassy monster! growing up in a small town in southern germany, joachim landesvatter s main musical influences came via his older brothers in the form of bands like zz top, lynyrd skynyrd and uriah heep. these narrow boundaries could not contain his ever-evolving tastes, however. he soon found himself enthralled by german acts bap, die rodgau monotones and the scorpions, to name a few. the real turning point came in 1991 when he discovered the techno music being played by local djs in the small, rural clubs in and around his hometown. using techno as a springboard, he jumped ever-deeper into the quickly evolving experimental electronic scene and all of its various permutations

classic jeff mills like loop tech..