Dub Techno

Yagya “Old Dreams And Memories” (Small Plastic Animals)

2020-05-21T20:50:33+00:00May 21st, 2020|

Icelandic producer Adalsteinn Gudmundsson aka Yagya now launches his own new Small Plastic Animals imprint with a brand new album, Old Dreams and Memories. After nearly two decades of releasing his Icy dub techno on labels like Sending Orbs, Delsin Records and A Strangly Isolated Place, his latest album marks a subtle move away from the sound he has dealt in before. Still slowly propulsive rhythms underpinning every track, but they are only a small part of the overall picture. Old Dreams and Memories is a rich symphony of luxurious sound, with transportive rhythms and hugely evocative layers of melody, the human voice and cinematic sampling all showing a further evolution in the art of this standalone producer. With vocals by Natsuko Yanagimoto, poems by Michizo Tachihara and saxophone by Oskar Gudjondsson.

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Night Sea “Still” (Silent Season)

2020-05-21T20:50:25+00:00May 21st, 2020|

Night Sea is honoured to present their first LP to the Silent Season family. The album is the culmination of a two-year journey playing with the relationship between sound, repetition, and impermanence. The slowly evolving musical landscapes of Still are an invitation to slow down and explore the ever-changing facets of one’s experience.

This album is dedicated to Betty and Cassius for their inspiring resilience, and Glenda for her constant support.

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Anton Kubikov “Rhythm + Chords” (Pro-Tez)

2020-05-21T20:50:20+00:00May 21st, 2020|

Anton Kubikov is back to his own imprint Pro-Tez with the dubbed-out Rhythm & Chords EP. It consists of four, ultra-deep compositions — dubby and at the same time dance-oriented tracks that will be equally enjoyable on the couch or on the dancefloor. It’s a vinyl-only release on 180 gram vinyl. Highly recommended for the fans of deep dub techno/house vibes.

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Pole “123” (Mute)

2020-05-14T23:35:55+00:00May 14th, 2020|

Stefan Betke aka Pole’s holy trilogy of frayed dub experiments resurfaces for a 20th anniversary reissue, taking us back to smokey nights at the turn of the century and some of the finest post basic-channel dub echoes ever released. Essential listening if you’re into anything from Rhythm & Sound to Vainqueuer, Jon Hassell to Jackie Mittoo.

As legend goes, Pole took his name from a malfunctioning Waldorf 4-Pole filter which produced hisses and pops which weren’t really controllable or predictable, much like a living organism. Betke realised the potential and came to alchemically morph and render them with judicious FX dubbing into a groundbreaking sort of minimalist electro-dub that sounds exceedingly good with a spliff and glass of booze. Working somewhere between the variants of abstract techno on Chain Reaction and Mille Plateaux’s cutting edge minimalist strains, Pole’s first trio of albums inarguably helped lay the foundations for dub techno as it’s come to be known and are held in the highest regard by practically everyone who owns them.

The Pole aesthetic is patently laid out in ‘1’, where his organic clicks ’n pops come out to play accompanied by lilting organ and jazzy bass channelling Jackie Mittoo via Jon Hassell and Rhythm & Sound into a uniquely, gauzy, gaseous state. But for us, his sound really comes into its own on ‘2’, where the opening melodica motif still sends electric shivers down the spine and opens out into the kind of sculpted, layered dub bass that spawned dubstep, and flows out into myriad, mesmerising permutations, but this time swapping out the hazy licks for a cavernous, brooding melancholy (that really matched this moody teenager’s psyche at the time) and reverberated through into the more humid, drizzly and funereal atmosphere conjured in the equally spellbinding spectral dub metaphysics of ‘3’.

So strong was the impact of these albums on the late ‘90s underground, they even generated a “pastiche” that was unwittingly issued (and subsequently deleted) by Fat Cat on their split series, but was purportedly made by V/Vm in a snidey but frankly hilarious prank, albeit one that demonstrates just how ubiquitous and influential Betke’s sound was at the time. More than that, it’s fair to say the 20 year cycle hasn’t rinsed out the appeal of this triptych one bit; it remains one of electronic music’s most enigmatic and strangely moving, tactile bodies of work.

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Vladislav Delay “Multila” (Keplar)

2020-04-03T01:02:03+00:00April 3rd, 2020|

Multila was the third album by Finnish producer Sasu Ripatti under the moniker Vladislav Delay. It compiles the Huone and Ranta 12″ EPs Ripatti released on Basic Channel’s Chain Reaction label in 1999 and 2000. The album features six hauntingly murky dub ambient tracks and the impressive 22-minute techno odyssey “Huone”. 20 years after its original release as a full-length CD album (Chain Reaction), these timeless recordings of modern electronic music are now finally available for the first time as a double-vinyl edition. The label Keplar has been on a long hiatus and is now back with its KeplarRev series presenting vinyl re-issues of essential electronic albums from the ’90s and ’00s, as well as new recordings by momentous electronic and ambient artists. Drawings by Kaisa Kemikoski; Layout by Marco Ciceri. Remaster by Rashad Becker and vinyl cut by Kassian Troyer at Dubplates & Mastering. Includes download code.

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Voodoo Of the Godsent

2020-03-19T20:37:04+00:00March 12th, 2020|

2011 album available on vinyl for the first time. Master percussionist Bonjo Iyabinghi Noah joins forces once again with dubmaster Adrian Sherwood at the controls and a whole host of guest musicians, including contributions from dancehall pioneer Jazzwad and electronics from Adamski.

All the elements of a classic African Head Charge album are present: spaced out dub, tribal chants, ecstatic trance, but updated with a rugged sound system undercarriage. Arguably some of the hardest hitting AHC rhythms laid down in the studio to date.

Part of an extensive reissue campaign that sees all of African Head Charge’s 1990 – 2011 work presented in lovingly put together new editions, a companion to the reissue of the band’s early work that On-U Sound undertook in 2016.

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In Pursuit of Shashamane Land

2020-03-19T20:37:14+00:00March 12th, 2020|

Originally issued in 1993 and the last African Head Charge album on On-U Sound for 12 years, released at the height of the band’s popularity as a staple of live music festivals. Continuing the skillful fusion of styles they had explored on Songs Of Praise, this album added elements of trance and electronica to their trademark percussion-heavy sound.

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African Head Charge ‎”Churchical Chant Of The Iyabinghi” (On-U Sound)

2020-03-13T20:33:49+00:00March 5th, 2020|

A unique album of outtakes from the classic Songs Of Praise and In Pursuit Of Shashamane Land albums, compiled by On-U archivist Patrick Dokter from the original tapes and expertly sequenced to work as an immersive listening experience. A companion piece to the acclaimed Return Of The Crocodile set from 2016 that took the listener on a version excursion through the early years of the group.

These are the dubbier and more out-there experiments mixed down whilst Adrian Sherwood was shaping the sound of the albums. Bubbling percussion lines skitter across the stereo spectrum, ghostly voices echo inside the machine and mangled guitar riffs beam down from Mars, whilst staying rooted in the tough tribal rhythms that form the bedrock of the AHC sound, this is music for the head and feet, take heed!

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African Head Charge “Songs Of Praise” (On-U Sounds)

2020-03-13T20:33:49+00:00March 5th, 2020|

Considered by most fans to be AHC’s masterpiece. One of the prominent elements throughout African Head Charge’s discography has been the ethnomusicology influence. On Songs Of Praise this is even more pronounced, featuring religious chants set to an African dub backdrop of hand percussion, with a mighty sonic and great musicianship. A significant record both for African Head Charge and On-U Sound, originally released in 1990.
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Grit/Stojche “Genocide” (Grounded In Humanity)

2020-03-13T20:34:11+00:00February 28th, 2020|

As we approach the very last installment of the story, the greatest, final and cruelest battle between humankind and the clones is fought, just after the resistance is discovered hiding out in their underground lair. The humans were overwhelmed in numbers and outclassed in technology so the struggle was soon stifled and every rebel was brutally slaughtered until no one, but the captain, remained standing. Literally the last man on Earth burst into tears as he realized his species had been extinguished for good and he couldn t do anything to eschew it, while he was contemplating the obliterated battleground. That is even more painful than his own imminent death. He doubts for a split second, he pulls his gun from the belt and he says to himself while pushing the trigger.

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Octal Industries “Our Seasons” (Vertex)

2020-03-13T20:34:11+00:00February 28th, 2020|

After a couple of meetings between Jamie (Exalt Records) and (Andy Verdant Recordings) bosses, the idea of a label collaboration seemed a natural progression for both imprints and ‘Vertex’ was spawned. To honour their common love of music that have depth, width and atmosphere, approaching Gudmundsson for material to kickstart their new venture was an easy choice for both involved.

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Octal Industries “Julia Sets” (Kontakt)

2020-01-18T21:49:31+00:00January 18th, 2020|

Black repress. Octal Industries returns from hiatus as a solo artist after several succesful releases teaming up with fellow Thule artist OHM. This release is dedicated to his signature sound which is the perfect mix between Detroit dubtechno and stone cold Icelandic chords recollecting the vibe of his early collaboration with Deepchord on the highly sought after Spectral Network trilogy. Mike Huckaby gives >When It Rains< an mindblowing S Y N T H treatment and brings the Detroit vibe to the next level.

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Ena “Baroque” (Different Circles)

2019-12-13T06:00:29+00:00December 13th, 2019|

Two years in the works, Baroque follows from the D&B-styled flux of Ena’s early 2019 collaboration with Felix K (F&E #1) to sound out more unorthodox areas of inquiry of abstruse, Chain Reaction-like sound design and algorithmic decomposition. In terms of the music’s boneless construction and roiling spectral nature, it surely ranks among Different Circles’ headiest and most psychedelic releases following the dread kinematics of Logos’ Imperial Flood album (DIFFLP 003LP) and the cult acclaim given to their killer Raime and Szare 12″s in the past year. Variously recalling the sound of stressed-out machinery or the sferic mystery of The Conet Project, Baroque sees Ena transition further from recognizable styles into a richly enigmatic tonal and texture-rhythmic language. Over the album’s six tracks he uses this futurist-primitive mode to express a detached, meditative state-of-mind that speaks to paradoxical ideals of club music and domestic listening: of being simultaneously in it, yet out of it; of finding yourself lost in the crowd of noise. It’s a sound that resonates with the short-circuiting AI convulsions of Logos, Mumdance, and Shapednoise’s EP for The Death of Rave as much as the hypnagogic mulch of Thought Broadcast or the most abstruse Chain Reaction releases — think a rusted and sunken Dynamo or Porter Ricks in radioactive waters — and comes primed in artwork by Raime that perfectly highlights the music’s strange, semi-organic nature and austere yet psychoactive allure. RIYL: Porter Ricks, Felix K, Dynamo, Pendant. Mastered and cut at Dubplates & Mastering, Berlin. Edition of 300.

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Metric System “Studio 440” (Kontakt)

2020-03-07T06:08:24+00:00December 6th, 2019|

Kontakt brings back two sought after minimal-dubtechno tracks by Metric System, which was one of many aliases used by Thomas P.Heckmann in the 90ties, where he explored the sounds of the legendary Sequential Circuits 440. The original recordings have been carefully restored and officially re-mastered by Thomas himself. Limited coloured vinyl.

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Upwellings “Distant Lights” (UPW)

2019-11-08T04:35:37+00:00November 8th, 2019|

Hand numbered and limited to 200 copies for the world Once again Upwellings lead us into deepness with these four new tracks coming straight out his studio. As usual, all that music has been played live in the studio, convoking dub techniques to give life to an imaginary modular orchestra. First track “Frozen” reminds old Rhythm & Sound grooves with extra low bassline and various delayed chords. “Distant Lights” is more about a kind of journey into dub basics, playing with our perception of spaces and sounds, the illusion of a static loop, but it never sounds exactly the same… “Dub Arena” shows us a more techno oriented dub with straight kicks and percussions. On top of that, sweet chords in constant evolution and finally the “real” bassline mash up the place. And last but not least, “Blue Mountain” is a long walk between trees, a rough way to reach the top…

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Octal Industries “Julia Sets” (Kontakt)

2019-10-31T23:40:30+00:00October 31st, 2019|

Black repress. Octal Industries returns from hiatus as a solo artist after several succesful releases teaming up with fellow Thule artist OHM. This release is dedicated to his signature sound which is the perfect mix between Detroit dubtechno and stone cold Icelandic chords recollecting the vibe of his early collaboration with Deepchord on the highly sought after Spectral Network trilogy. Mike Huckaby gives >When It Rains< an mindblowing S Y N T H treatment and brings the Detroit vibe to the next level.

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Steve O’Sullivan “Babylon Paralysis” (Future Primitive)

2019-10-31T23:40:28+00:00October 31st, 2019|

The fifth Future Primitive release, Babylon Paralysis, sees the label work with an all-time favourite UK techno artist Steve O’Sullivan. We are super happy to be reissuing a classic slab of late ’90s Bluetrain material from Steve in the shape of “Congo Shuffle”, which originally surfaced as an untitled B1 on the timeless Echo Freaks 12″. Newly extended and edited by O’Sullivan, “Congo Shuffle” has been lavishly cut at the Exchange giving new life to this bottom feeding monster.

On the flip, Steve blesses us with two brand new productions continuing the sub-heavy theme of the A side. Invisible Guest steps away from the straight up 4/4 productions he’s nailed in recent years in favour of a stealthy broken dub approach that wouldn’t be out of place on go-to Bristol label Idle Hands.

“Paralyzed Dub” is both the inspiration for the release title and another classic demonstration of Steve’s ability to stun listeners with very few elements. Play loud and keep away from laptop speakers.

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Mike Dehnert “MD2.8” (MD2)

2020-03-07T06:09:19+00:00October 31st, 2019|

The eighth instalment of Mike Dehnert’s MD2 series is another set of primo club tools from the Fachwerk boss. These tunes perfectly synthesise dub techno, minimal techno and Berlin-school tech-house. Generally the production here is crisp and elegant – this is particularly true on the first two tracks – but closer ‘MD2.8.3’ threatens to upset the balance with glitching loops and degraded bass hits. If you’ve been digging Levon Vincent’s recent Dance Music EPs then we suggest that you give MD2.8 a spin.

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Idealist “Say Yes To No” (Ideal)

2019-10-11T03:19:12+00:00October 11th, 2019|

Joachim Nordwall digests and mutates dub in unique industrial style on The iDEAList’s almighty follow-up to a tape and 7″ in this killer mode, bringing guest vocalists, JA’s Nazamba and polymath John Duncan, for a deeply crooked ride worthy of rinse and repeat. Picking up where his raw Early Tactical Experiments In Techno & Dub left off in spring 2019, the rugged styles of Say Yes to No poses only slightly less risk of contracting salmonella with a more stewed and treated suite taking in proper songs starring Nazamba and John Duncan amid all manner of virulent, wayward electro-dub variation. As with his superb tape for Industrial Coast, that wicked 7″ with Genesis P-Orridge, and even his recent albums as Joachim Nordwall — Conventional Wisdom with John Duncan (IDEAL 182LP), and the collaborative CD Communication Is Key — the iDEALIST naturally highlights fundamental links between dub and noise, the core principles of manipulating sound in space, with a critical blend of tactile playfulness and rigorous pressure. The two vocal cuts are outstanding in their own rights; “Bigga Boss” features Kingston-based poet and playwright Nazamba utterly possessing the opening shot with his baritone growl, rooting the LP at one pole, while John Duncan’s equally compelling appearance on a similar riddim in “Tough Doubt” comes to epitomize the project’s direct approach toward alloying and allying styles with alchemical suss comparable to The Bug, Ossia, or Andreas Tilliander. Vocals also spill out into the LP’s other tracks, but here they’re more textural and elusive, scudding thru “Everyone Fucking Relax” in a way recalling DJ Scud’s thudding remix of Bong-Ra, or masticated into intelligibility on the amorphous dub-noise lurch of “Inner Space Dub (Insane Version)” and the LP’s cataclysmic closer “Say Yes To Dub”, which are all held tight in contrast with the more defined techno and electro-dub structures of the LP’s club-ready highlights, “The Ecstasy” and “Shit Skull/Golden Mind”. It’s a hugely enjoyable album — one that leaves bits in your teef and gets up in your head like a healthy dab of shatter. RIYL: Ossia, DJ Scud, Andreas Tilliander, Jay Glass Dubs. Mastered for vinyl and at Dubplates & Mastering, Berlin.

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Massive Attack “Vs. Mad Professor Part II (Mezzanine Remixes)” (Virgin)

2019-10-11T03:15:05+00:00October 11th, 2019|

The fabled, previously unreleased Mad Professor dubs of ’Mezzanine’ land with finest style and keeling doses of nostalgia to mark the 20th anniversary of Massive Attack’s late ‘90s trip hop classic

Following in the vein of Mad Professor’s legendary ‘No Protection’ – his ’95 dub version of Massive Attack’s 2nd side ‘Protection’ – the echo chamber king radically reframes six cuts from the lustrous gothic dub of ‘Mezzanine’ in a purely smoked out style, alongside his re-do’s of the rarer ‘Wire’ and ’Superpredators’. For a generation who spent their formative years with ‘Mezzanine’ in the background, it’s a heavily satisfying bout of nostalgia as temporal sickness, pulling heads of an age back to a time that only seems like it was yesterday.

This pair of ears were probably starting to study for GCSEs when ‘Mezzanine’ dominated our late night listening in ’98 (off a Thai bootleg tape copy, lol), and while the album does feel a little cheesy when we return to it nowadays, it’s surely left an indelible mark on our listening life. Like many others, we were also enamoured with ‘No Protection’ back then, and always wondered what a proper dub gutting of ’Mezzanine’ might sound like, until now.

In key with the OG LP, the mood is arguably much starker and more gothic than the lush precedents set by Mad Professor’s ‘No Protection’. The likes of ‘Angel (Angel Dust)’ are huffed-up in a bittersweet bubbling style, and ‘Teardrop (Mazaruni Dub One)’ is eased off but still retains enough of Liz Fraser’s vocal and the harpsichord to send shivers down the spine. Likewise, the ‘Risingson (Setting Sun Dub Two)’ sounds achingly brilliant reset in a swarm of duppied FX, and ‘Group Four (Security Forces Dub)’ steps the finest line of paranoid pre-millennial tension.

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