Side One is heart-pounding Techno, Hardcore and Electro. Side Two is 90s inspired UK Jungle with an excellent rework from Tim Reaper.


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Richard Fearless follows his critically acclaimed psycho-geographical techno masterpiece ‘Deep Rave Memory’ with its companion album ‘Future Rave Memory’.

Across titanium kosmische, industrial ambience, weightless acid and dark drone, this new record is an instrument of evocative wonder and heavy emotion.

A dystopian ambient album and work of modernist meditation set firmly in an era when humanity is reckoning with its outsized place in the natural world, a process which may evoke humility, defiance, denial or despair.

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A stunningly accomplished work, ‘Deep Rave Memory’ is an insight into Fearless’ worlds – both metaphysical and geographical. Pulsating in unison with the heartbeat of a modern metropolis, it was recorded at the Metal Box’ – his studio located on the peninsula of land where the River Lea meets the Thames. The haunting and wistful blue ambient ‘Vision of You’ leads into the bracingly chilly ‘New Perspective’, which evokes a heavy rush where perceptions are blurred and vision is freeze framed, via elements of techno-soul, Sheffield Bleep and Mika Vainio. A snarling beast of a track, the relentless machine funk of ‘Devil on Horseback’ perfects the pure cathartic release of dark ‘n’ hot body music, whilst ‘Acid Angels’ is a throbbing low-fi 303 requiem, which encapsulates that perfect dancefloor moment, when the first light breaks through the shutters. A future classic and the album’s modus operandi, title track ‘Deep Rave Memory’’s discordant filter passes sweep across a hypnotic melody, communicating a deep sense of warm nostalgia and taking you on an epic journey – stretching out a single riff over 12 minutes – akin to the krautrock greats of which Fearless is so fond. ‘Atlas of Insanity’ is big room techno with pounding kicks, death-whip metallic snares and head spinning, spiralling synth lines that drill into your core. This is raw, impulsive and frantic music that sizzles with electric effervescence. The Germanic kosmische idyll of ‘Driving with Roedelius’ is a homage to one of Richards’ heroes – Hans-Joachim Roedelius – and was inspired by his experience playing a set consisting solely of the electronic pioneer’s music, at a festival celebrating his life and career. On the album's closer, Fearless recounts, “‘Broken Beauty’ is something I’ve always strived for in my art. It’s inspired by Robert Frank, William Eggleston and the way they could take the most inane object a turn it into something of beauty. It’s equally schooled by the aggressive simplicity of King Tubby’s dubbing and the transcendence of Joy Division’s ‘Decades’. The sparse allure of the best dub and techno is something I’m always striving for; being able to conjure emotion with the fewest possible elements; to not fix what’s broken, but to make it shine.

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The ridiculously talented Christopher Rau goes a little harder than his normal sonic spectrum for his debut release on Drone, delivering two fantastic techno excursions with this strong double hitter. The tile track is Beasts: harsh, dripping, and cold. Fans of Pan Sonic won’t be disappointed. Riggleysz exposes Rau’s Deep House sensibilities with a percussive, dj tool that breaks out into an infectious techno work out.

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Hand stamped white label, album sampler for forthcoming Richard Fearless album of the same title. Atlas of Insanity’ is reactionary, big room techno from Richard Fearless; a pounding kick, death whip snares, and synth lines that drill into your core. This is raw, impulsive electronic body music made to loose your mind. With ‘New Perspective’ Fearless delivers pure techno soul. With sonic leanings towards the North’s Bleep scene and minimalist techno pioneer Mika Vainio’s Philius and Ø alias.

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Sheffield’s Tommy Vicari Jnr delivers a study in contrasts for his first release on Drone. ‘Kept In’ is a concordant, synthetic techno pop excursion that bursts into your head like a thought and ricochets throughout. The static and reverb harnessed by Vicari to create ‘Closing In’ is a dub/techno assault, and inverse to the propulsive and glitchy rhythm of the A side.

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Limited edition release of 500 in a black sleeve, each with a unique, experimental numbered screen print, 30 cm x 60 cm

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Death in Vegas return with the single ‘Honey’, its second collaboration with Sasha Grey. ‘Honey’ is a slow, seductive serenade, with an organic, psychedelic tone: dreamy and dripping with intensity. The B side features ‘Witchdance Dub’, Richard Fearless’ long-held remix of ‘Witchdance’ off Trans-Love Energies, featuring the haunting vocals of Katie Stelmanis from Austra. Fearless cut three dubplates of ‘Witchdance Dub’ after he mixed this track. Dj Harvey has one, Prosumer the other, and Fearless kept the 3rd: delicate acetates that have been played out sparingly but with electric effect. This track is effortless, minimal dance music imbued with Fearless’ unique production sound- it’s not one to miss.

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Coming off Transmission, Death in Vegas’s critically acclaimed 6th album which saw the band collaborating with Sasha Grey, are three unique remixes by Silent Servant and Rudolf Klorzeiger.

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Night Blind is Richard Fearless’ second release on Drone’s white label series. The title track coalesced in the early hours of the morning as diffuse, Turneresque lights glimmered across the Thames and the container was pounded by a storm. Unnerving and melancholic yet with a glimmer of light, this is Fearless at his best. On the B side is Cancan. With Xavier’s spiritual acid head, Kenichi Iwasa, on percussion duties, this is one for peak time body shaking. Both tracks were recorded and mixed at the Metal Box by Chris Blakey and produced by Richard Fearless. Stamped and numbered edition of 300 vinyl

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D’Marc Cantu’s second release on Drone is an introspective, emotive piece of electro. With it’s deep pads, ‘Omega Red’ provides the soundtrack to a trek through the snowy wastes, never letting up and calling through the night. Dreaming of a world beyond our own on a journey without end, waking to find fragments of that world still holding on. In contrast, under his Rival alias Cantu delivers ‘Sustain’ a ferocious track with monotonous drum lines that slowly takes you into the night. Rival has, since it’s inception, been about exploring the limitations of a single, one take session. Taking the principles of a live set and applying them with gear that would ordinarily be left in the studio adds an uncertainty and urgency to the moment that would otherwise not be there.



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Luke Hess and DJ Richard remix sides A and B of Drone 005 for the sixth release from Drone. Luke Hess takes Overview Effect, Richard Fearless' dubbed out, Detroit techno fused title track, and transposes its mood; breaking out the 303 and sampling the original strings to add an element of dazed hallucination for this peak time acid track. DJ Richard brings crafted electro rhythms and swelling, dubbed out horns to his remix of Metal Dub, completely reimagining the stripped-down, metallic techno of the original.

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Richard Fearless delivers some Transatlantic love with his third Drone instalment, and the fifth release from this growing label. Overview Effect is dubbed out Detroit-esque techno with with an epic two and half minute string workout and a cognitive shift to pure Fearless magic. Metal Dub is stripped-down, metallic, hypnotic techno with haunting pads, and it's been smashing it in the darkest of rooms of late. A deep, heavy release on Drone.

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With this release, Anne Arbor's jakbeat man delivers 6 minutes of electronic mania; a piece of repetitious, dance-inducing machine funk with a hook that hits you like a punch in the face with a velvet glove, brooding pads, and a top line like steel drums on acid. D'Marc Cantu twists the sound of Detoit techno and Chicago house with his own visceral production style and makes it his own. "Sonically I'm reminded of old home videos, a lower quality presentation of a memory. Decay has that quality to it that reminds of a time gone but stills feels familiar and comforting" DMC "Rival was the first experiment of my first alias, Rival. It was recorded in with a Volca drum machine the first day I got it, no effects and no edits, as is the basis of the alias, unedited analog sessions. One take"

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