In all of his years of being a certified veteran in the world of techno - from his beginning days in Napoli in the early 90s to his celebrated status around the world today - Marco Carola never once lost grip on his main priority: letting the music speak for itself. Throughout his leagues of vital releases and endless stream of DJ dates, his focus always steered clear of sensationalized press angles, or ranking up the charts; he chose to instead keep his head down and his passions high. Carola retains a rare sense of integrity, despite being an artist who's consistently changed the face of techno. He shrugs it off modestly, claiming only to "always try to do something new." "Inspiration changes a lot," he tells. "When I was a kid, I was inspired by other people's productions, and today I'm more inspired by the energy of evolving. I'm really passionate about the progress of music. I listen to all of the promos that I get sent because I look and search for something that's new to me. For me, music is still all of my passion. I don't really do many other things - I don't run a label, and I don't have people working for me because I don't want to use up the time that should be spent on music. And I think that's the reason that I'm always looking for something new: to expand even more." With the CD and Digital editions of the album coming in the form of a seamless mix, the Vinyl edition cherry-picks the cuts ripest for DJ use and presents them across three collectible 12"s. Among the tracks featured are the bass-laden groove of The Jingle, a sonic reverie filled with a vast space of percussive layers and stuttering vocals; Magic Tribe, a playground of drums and colorful beat texture; the gripping twists and turns of Kimbo; the shuffling bassline of Lighthouse, where around each loop lies a surprising new rhythmic element; Black Box, teasing and throbbing with dynamic climbs into a soundworld immersed in shadows; melodies slowly emerging and taking shape through the aptly titled Suspense; the stomping bass weight of One Man Show's wide-eyed entertainment; and potential 2011 dancefloor mainstay Freak On. "I called it 'Play It Loud!' because I think my music is based a lot on the groove and the bassline. I don't think I ever play a record if it doesn't have a bassline. So I think the way this album makes most sense is when you actually play it on a big soundsystem. Something like an iPod speakers won't probably make much sense of it. This is just my opinion of how the album should be played: loud! The energy of the music is for that."


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In all of his years of being a certified veteran in the world of techno - from his beginning days in Napoli in the early 90s to his celebrated status around the world today - Marco Carola never once lost grip on his main priority: letting the music speak for itself. Throughout his leagues of vital releases and endless stream of DJ dates, his focus always steered clear of sensationalized press angles, or ranking up the charts; he chose to instead keep his head down and his passions high. Carola retains a rare sense of integrity, despite being an artist who's consistently changed the face of techno. He shrugs it off modestly, claiming only to "always try to do something new." "Inspiration changes a lot," he tells. "When I was a kid, I was inspired by other people's productions, and today I'm more inspired by the energy of evolving. I'm really passionate about the progress of music. I listen to all of the promos that I get sent because I look and search for something that's new to me. For me, music is still all of my passion. I don't really do many other things - I don't run a label, and I don't have people working for me because I don't want to use up the time that should be spent on music. And I think that's the reason that I'm always looking for something new: to expand even more." With the CD and Digital editions of the album coming in the form of a seamless mix, the Vinyl edition cherry-picks the cuts ripest for DJ use and presents them across three collectible 12"s. Among the tracks featured are the bass-laden groove of The Jingle, a sonic reverie filled with a vast space of percussive layers and stuttering vocals; Magic Tribe, a playground of drums and colorful beat texture; the gripping twists and turns of Kimbo; the shuffling bassline of Lighthouse, where around each loop lies a surprising new rhythmic element; Black Box, teasing and throbbing with dynamic climbs into a soundworld immersed in shadows; melodies slowly emerging and taking shape through the aptly titled Suspense; the stomping bass weight of One Man Show's wide-eyed entertainment; and potential 2011 dancefloor mainstay Freak On. "I called it 'Play It Loud!' because I think my music is based a lot on the groove and the bassline. I don't think I ever play a record if it doesn't have a bassline. So I think the way this album makes most sense is when you actually play it on a big soundsystem. Something like an iPod speakers won't probably make much sense of it. This is just my opinion of how the album should be played: loud! The energy of the music is for that."


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In all of his years of being a certified veteran in the world of techno - from his beginning days in Napoli in the early 90s to his celebrated status around the world today - Marco Carola never once lost grip on his main priority: letting the music speak for itself. Throughout his leagues of vital releases and endless stream of DJ dates, his focus always steered clear of sensationalized press angles, or ranking up the charts; he chose to instead keep his head down and his passions high. Carola retains a rare sense of integrity, despite being an artist who's consistently changed the face of techno. He shrugs it off modestly, claiming only to "always try to do something new." "Inspiration changes a lot," he tells. "When I was a kid, I was inspired by other people's productions, and today I'm more inspired by the energy of evolving. I'm really passionate about the progress of music. I listen to all of the promos that I get sent because I look and search for something that's new to me. For me, music is still all of my passion. I don't really do many other things - I don't run a label, and I don't have people working for me because I don't want to use up the time that should be spent on music. And I think that's the reason that I'm always looking for something new: to expand even more." With the CD and Digital editions of the album coming in the form of a seamless mix, the Vinyl edition cherry-picks the cuts ripest for DJ use and presents them across three collectible 12"s. Among the tracks featured are the bass-laden groove of The Jingle, a sonic reverie filled with a vast space of percussive layers and stuttering vocals; Magic Tribe, a playground of drums and colorful beat texture; the gripping twists and turns of Kimbo; the shuffling bassline of Lighthouse, where around each loop lies a surprising new rhythmic element; Black Box, teasing and throbbing with dynamic climbs into a soundworld immersed in shadows; melodies slowly emerging and taking shape through the aptly titled Suspense; the stomping bass weight of One Man Show's wide-eyed entertainment; and potential 2011 dancefloor mainstay Freak On. "I called it 'Play It Loud!' because I think my music is based a lot on the groove and the bassline. I don't think I ever play a record if it doesn't have a bassline. So I think the way this album makes most sense is when you actually play it on a big soundsystem. Something like an iPod speakers won't probably make much sense of it. This is just my opinion of how the album should be played: loud! The energy of the music is for that."


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With his first full studio album in nine years, Play It Loud!, due for release in February, Marco Carola offers a taste of the forthcoming LP with the Groove Catcher EP. Encapsulating Carola's approach to techno in both sound and title, Groove Catcher is the Naples producer at his best, with a rolling bassline punctuated by a percussion pattern that teases out the funk of the track in Carola's trademark style: pacey and direct, but with enough bounce and fluidity to fully snare the occupants of the dancefloor within its grip and make them do its bidding. Fellow album cut, The Method, which appears on the vinyl format only, is similarly insistent whilst lighter in tone - if Groove Catcher is best employed at the peak of a club set, then The Method is its daytime terrace equivalent. Leading the EP will be the rework of Groove Catcher by Martin Buttrich, with the German producer lending the considerable talents that have led to releases on Poker Flat and Cocoon Recordings - as well as his recruitment behind the mixing desk for Timo Maas and Loco Dice - to a pair of remixes that transform the original into a different beast entirely. The Catcher Remix mutates Groove Catcher into something monstrous and intimidating, bringing a different intensity to the track and injecting it with a heightened sense of danger, whilst the Groove Remix (available on the digital format only) skews off into another direction altogether, changing up the rhythms with stuttering tribal drum patterns that you would more commonly associate with the burgeoning post-garage London house scene, all the while maintaining the flow and sensations of the original version.


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One thing that’s been a constant factor of Marco Carola’s releases over the last couple of years is the ability to seamlessly integrate breaks and beats into his productions, giving them an
unmistakeable feel that sets him apart from his contemporaries. More than just relaxing the sometimes overbearing grip of the 4/4 kick to let the abstract, micro-funk of his rhythm sections seep
through, it pays homage to eras gone by, adding a strong presence of the past to his forward thinking ideas. So, it’s not before time that Carola chooses to highlight this theme, combining three distinctive
cuts for the 3rd release of his Minus backed 2M imprint with heavy duty rhythm patterns that are as refreshing in the current dance music climate as they are necessary to the continued evolution of the
genre. Earthy and tenacious, Tribe is no doubt a shout to the crowds that flock to hear him play every weekend. Kicking off in typical Carola fashion, the intro is soon smothered by a chugging bassline and
additional layers of latin-esque percussion including a shimmering tambourine and a raw, funky conga line that carries the track forward. Once the track is fully constructed you know you’re onto a winner
as Carola simply lets the liquid groove flow, occasionally punctuating each stanza with tricky little drum fills or sampled shouts, while utilising a buzzing synth stab to inject some intensity into the
proceedings with a few gentle crescendos. If the aim of this EP is to highlight the spontaneous percussive vibe of the tracks, then just as Tribe speaks through its seductive, snaking grooves, Drumming is all about the complex drum solo that lies at its heart, utilising real kit sounds in a syncopated jazz style breakdown. It starts off harmlessly enough with a deep, clicky kick pattern that’s soon joined by an entourage of regimented percussion lines and a mechanical, jacking organ/bass hybrid. Time gradually becomes a loop with elements dropping in and out every eight bar cycle before, seemingly out of nowhere, Carola unleashes a battery of live drums. The elongated, freestyle drum solo that follows is ambitious to say the least but Carola carries it off it aplomb. All in all, it’s a deliciously simple concept that does exactly what it says on the tin, sprinkling a bit of magic on the dancefloor in the process.

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Track listing:

A1: ANNA - High Contrast
A2: YUADA - Circle of Acid
AA1: Fabio Florido - The Bliss
AA2: Toni Alvarez - That Days
AAA1: Matrixxman - Full Clipp
AAA2: Dave Simon - Methagem
AAAA1: ONYVAA - MISBHV
AAAA2: ORBE - Agdam

+8138
1/ ANNA – High Contrast
Recognition from Mixmag as one of 2018’s best DJ’s, an Essential Mix early in 2019, and a string of acclaimed releases all point
to the fact that ANNA is one of the biggest DJ’s in the world right now. She arrives on Plus 8 after a long affiliation with
Hawtin.
ANNA: ‘I remember the first time Richie played a song of mine in 2012! It’s been around 7 years now that I’ve been sending
him stuff, and in the meantime I’ve learnt more and refined my sound. ‘High Contrast’ is a symbol of how perseverance and
dedication lead to accomplishment.’
2/ YUADA - Circle of Acid
Japanese musician, artist and DJ, YUADA, has enjoyed an astounding rise since moving to Europe this year. She’s now based in
Amsterdam where she holds a residency at Melkweg. YUADA and Richie Hawtin met at this year’s edition of Awakenings
festival in the Netherlands, and after hearing a demo he decided to include ‘Circle of Acid’ on the compilation. With its
screeching acid lines and hard hitting percussion, it’s a shot of pure dancefloor energy.
YUADA: ‘I was at Awakenings festival with ONYVAA this year. She introduced me to Richie and he asked me to send him
some of my tracks. It was an unforgettable moment for me.’
3/ Fabio Florido - The Bliss
Fabio Florido is an Italian DJ who has played some of the biggest dancefloors around the world. His connection to Richie
Hawtin goes back many years when Richie started playing his tracks. In 2014 Fabio became resident DJ for the ENTER events
at Space Ibiza and ENTER events across the globe. His contribution to this compilation was recorded in a focused and
productive studio session.
Fabio: ‘sometimes I’m mechanical and I need to force myself to make music… but with this track it was a total flow.’ ‘
The Bliss’ takes cues from the label’s past and future : We have the 303, but it’s played in a different way. It’s very energetic,
I’m very proud of it.’
4/ Toni Alvarez - That Days
Toni Alvarez’s heady and percussive track ‘That Days’ recalls the label’s minimalistic techno roots. The Spanish DJ owes his
success to an impressive discography of over 50 tracks and a thrilling, intricate four deck mixing style that has become his
signature. It was his production talent that first got Hawtin’s attention.
Toni: ‘When Richie asked me for some songs to include on the Plus 8 compilation I couldn’t believe it but I immediately sent
him all the music I had.’
5/ Matrixxman - Full Clipp
Matrixxman is a prolific and gifted artist with a discography that includes successful forays into hip-hop and pop music. In
electronic music he’s made a name for himself producing and spinning raw, percussive dancefloor tracks, taking cues from
Chicago, Detroit and the UK. ‘Full Clipp’ sees him explore the darker, trippier side of this sound.
Matrixxman: ‘Rich and I bonded over our mutual love for fucked up futuristic rhythm trax.’
6/ Dave Simon - Methagem
Dave Simon has spent the last decade operating from the centre of Frankfurt’s techno scene. He held a residency at the
legendary club U60311 before its closure. Now he appears regularly at MTW Offenbach as well as Tresor in Berlin. He is the
founder of the label ‘Proper Techno Tunes’ and has released on Planet Rhythm. The tight and potent ‘Methagem’ was sent to
Hawtin as a demo after the two met in 2018.
Dave: I´ve been following Plus 8 since I started listening to electronic Music in the late 90s. I’ve collected so many of their
Vinyl and it is - without a doubt - one of the best labels in its genre.
It felt unreal when I received the message my track will be part of Plus 8 Records.’
7/ ONYVAA - MISBHV
The kinetic ‘MISBHV’ is the first of ONYVAA’s productions to be released outside Passeport Records, the label she operates
from Paris. Passeport releases have attracted the support of DJ’s like Marcel Dettman and Charlotte de Witte. As well as
appearing on this compilation, ONYVAA played live at the Plus 8 label night at FOLD in London and will play again before
Hawtin’s CLOSE show in Los Angeles on Nov 23 2019.
ONYVAA:‘I typically start jamming with my modular gear and hardware until I find a loop I can listen to continuously without
getting bored. After I build from there, trying to keep it stripped with many subtle variations.’
- on making tracks in the studio
8/ Orbe - Agdam
Orbe’s music toys with the division between the dancefloor functionalism of techno and the abstract expressionism of ambient
and IDM. His explorations in techno as a solo artist and under the name ‘Lost Epcot’ with Eduardo de la Calle have earned
him critical acclaim. ‘Agdam’, which features a disembodied melodic loop over submerged percussion, is the compilation’s
most introspective moment.
Orbe: "I am feeling very grateful to be part of this compilation. I’ve been following Richie since my beginning in electronic
music. He has always inspired me .. so this is like a dream come true.

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Special Remarks: Embossed Generic Sleeve for the Plus825 Series with innerprinted Sleeves!

Richie Hawtin reveals From My Mind To Yours, a new series of seven 12 inches via his own label Plus 8 Recordings, for which Hawtin has revived some of his most revered aliases - PLASTIKMAN, F.U.S.E., ROBOTMAN,, CIRCUIT BREAKER, 80XX, CHILDSPLAY and R.H.X. The title of the release is a play on the now classic early Plus 8 compilations From Our Mind To Yours from 1991 and 1992.
The records were previously released as very limited hand stamped white labels via Hard Wax in Berlin.

Tracklist
A1. Circuit Breaker - Systematic
B1. 80xx - Creepr


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Special Remarks: Embossed Generic Sleeve for the Plus825 Series with innerprinted Sleeves!

Richie Hawtin reveals From My Mind To Yours, a new series of seven 12 inches via his own label Plus 8 Recordings, for which Hawtin has revived some of his most revered aliases - PLASTIKMAN, F.U.S.E., ROBOTMAN,, CIRCUIT BREAKER, 80XX, CHILDSPLAY and R.H.X. The title of the release is a play on the now classic early Plus 8 compilations From Our Mind To Yours from 1991 and 1992.
The records were previously released as very limited hand stamped white labels via Hard Wax in Berlin.

Tracklist
A1. Plastikman - Akrobatix
B1. Plastikman - Cirkus


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Special Remarks: Embossed Generic Sleeve for the Plus825 Series with innerprinted Sleeves!

Richie Hawtin reveals From My Mind To Yours, a new series of seven 12 inches via his own label Plus 8 Recordings, for which Hawtin has revived some of his most revered aliases - PLASTIKMAN, F.U.S.E., ROBOTMAN,, CIRCUIT BREAKER, 80XX, CHILDSPLAY and R.H.X. The title of the release is a play on the now classic early Plus 8 compilations From Our Mind To Yours from 1991 and 1992. .
A1. No Way Back B1. Stretching B2. Simple Simon


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Special Remarks: Embossed Generic Sleeve for the Plus825 Series with innerprinted Sleeves!

Richie Hawtin reveals From My Mind To Yours, a new series of seven 12 inches via his own label Plus 8 Recordings, for which Hawtin has revived some of his most revered aliases - PLASTIKMAN, F.U.S.E., ROBOTMAN,, CIRCUIT BREAKER, 80XX, CHILDSPLAY and R.H.X. The title of the release is a play on the now classic early Plus 8 compilations From Our Mind To Yours from 1991 and 1992.
The records were previously released as very limited hand stamped white labels via Hard Wax in Berlin.

Tracklist
A1. 80xx - Creatur
B1. 80xx - Grindr


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Special Remarks: Embossed Generic Sleeve for the Plus825 Series with innerprinted Sleeves!

Richie Hawtin reveals From My Mind To Yours, a new series of seven 12 inches via his own label Plus 8 Recordings, for which Hawtin has revived some of his most revered aliases - PLASTIKMAN, F.U.S.E., ROBOTMAN,, CIRCUIT BREAKER, 80XX, CHILDSPLAY and R.H.X. The title of the release is a play on the now classic early Plus 8 compilations From Our Mind To Yours from 1991 and 1992.
The records were previously released as very limited hand stamped white labels via Hard Wax in Berlin.

Tracklist
A1. F.U.S.E. vs. Plastikman - EXpanded
B1. R.H.X. - EXtensions


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Special Remarks: Embossed Generic Sleeve for the Plus825 Series with innerprinted Sleeves!

Richie Hawtin reveals From My Mind To Yours, a new series of seven 12 inches via his own label Plus 8 Recordings, for which Hawtin has revived some of his most revered aliases - PLASTIKMAN, F.U.S.E., ROBOTMAN,, CIRCUIT BREAKER, 80XX, CHILDSPLAY and R.H.X. The title of the release is a play on the now classic early Plus 8 compilations From Our Mind To Yours from 1991 and 1992.
The records were previously released as very limited hand stamped white labels via Hard Wax in Berlin.

Tracklist
A1. F.U.S.E. - Them
B1. F.U.S.E. - Close


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Special Remarks: Embossed Generic Sleeve for the Plus825 Series with innerprinted Sleeves!

Richie Hawtin reveals From My Mind To Yours, a new series of seven 12 inches via his own label Plus 8 Recordings, for which Hawtin has revived some of his most revered aliases - PLASTIKMAN, F.U.S.E., ROBOTMAN,, CIRCUIT BREAKER, 80XX, CHILDSPLAY and R.H.X. The title of the release is a play on the now classic early Plus 8 compilations From Our Mind To Yours from 1991 and 1992.
The records were previously released as very limited hand stamped white labels via Hard Wax in Berlin.

Tracklist
A1. Plastikman - Purrkusiv
B1. Plastikman - Gymnastiks


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A1:Paco Osuna & John Lagora - Art Confusion A2: Paco Osuna & Uner - Paner AA1:Paco Osuna & Tamamovic - Ponsatu AA2:Paco Osuna & Tony Rohr - StaBass
UPC A Barcode: 815349011835 REL DATE 22.10.2012
Following on from the first Amigos EP on which Spain's Paco Osuna mixed it up with his real life friends comes Amigos Pt. 2, another EP of studio collaborations. It's been a great year for Paco, picking up plenty of acclaim across the board for his sets, remixes and productions, not least from DJ Mag Spain who voted him Best DJ, Best Producer and Best Remixer in their recent awards. The first track, 'Art Confusion' is in conjunction with John Lagora and explores woozy, subtle synth lines, squelchy percussion and plenty of sci-fi cinematism as it slowly snakes from a to b, growing ever funkier with each bar. 'Ponsatu' sees Paco team up with Tamamovic to go deep into the stripped back realms of techno. Above rolling grooves and belches of swollen synths sit intricate percussive patterns and barely recognisable voices before the whole thing bubbles over into a tightly coiled rhythm that kicks like a mule. It's fellow Spaniard Uner who steps up to the controls with Paco on 'Paner' and together the pair explore clicky micro rhythms and de-humanised vocal yelps. Thick with swirling air currents and devilish sound design it's a heady brew indeed. Finally, 'StaBass' in collaboration wit Tony Rohr, is a busy drum workout. Punchy and techy, it twists and turns beneath beguiling synth colours and shooting fire fly like sounds, building to intense highs where tension is built and then released at will. As such, it closes out another far ranging EP that shows Paco's friends are as on point in the studio as he is.


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Returning to Plus 8 for the third time, Julian Jeweil's profile as a contemporary techno titan has continued to grow. The Frenchman is now a firm part of the family and, when not in the studio, can be found owning dancefloors across Europe and beyond, putting to good use the experience he has built up over the last ten years since first emerging. The EP opens with the titular track, 'Bastard' - a rolling, cyclical techno groove with slapping drums and dark, heavily filtered vocal loop. Tension comes from layered, skewed synths that grow louder and louder till breaking down into white noise waves that flood the rest of the mix. 'Hey You' has just as firm and rubbery a bottom end, but here the iron-like synths bring a little funk as tiny FX percolate right at the heart of the track. Wholly abstract as ever, all sorts of other aqueous sounds drip in and out, conjuring thoughts of long dark tunnels disappearing deep underground. On 'The Gang' Jeweil lays down a restless, paranoid arrangement that sounds infected by alien space ships as an ominous vocal beams down from above. One synth here triggers another one there, making sure the whole thing is dynamic and filmic in its make-up. Closing out the EP is 'Zoulou', another steely techno stomper over run by alien sounds and non-human noises. Though his techno surely makes you dance, Julian Jeweil also knows how to get the most of his studio equipment and colours his tracks with more than enough detail to keep your mind as active as your feet.


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Tireless producer, Tronic boss and top international DJ Christian Smith here steps up for his first release on Plus 8. Over the years Christian has offered up a high volume and high quantity of techno inclined singles for myriad labels (Bedrock, Systematic, 100% Pure, Soma), so it only makes sense he now finds himself on one of the scene's most reliable outposts for such material. The two track EP kicks off with 'House is House' which is, as the name suggests, a little house-ier than the flip, but still deals in plenty of heavy bass weight and slick repetition. The devil is in the detail - filtered, dark voices, rattling cowbells, washes of white noise synths and long, thin, forward looking pads - all of which are married to a mid-tempo groove. The more forceful 'Indulge Me' then follows. Taught kick drums start immediately as claps and subtle synth stabs swell in volume until they eventually fill out the whole airwaves. Squirming behind are thin and icy steel lines until the first drop when the deliciously bouncy groove sets in proper. Far from aping the usual Detroit and Chicago tropes, Christian Smith has once again crafted two classy dance floor joints that are not only exquisitely produced, but that bare all the usual hallmarks of Christian Smith, one of the most consistent producers in the game.


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This time Plus 8 turn to Spanish talent Alberto Pascual for their next four track outing. He's a busy man with over thirty releases to his name already (on Plus 8 as well as labels like Drumcode) and a unique techno style all his own. Already the title track, 'Last Train To Party', has become a firm favourite on dancefloors across the world. Groovy kick drums drive the thing along as whooshes of atmosphere blast past and squelchy synth notes act like the ticking of an actual train track as you power through a desolate landscape. Next up, 'Acrobata' is woozy and almost disorientating to start, as thin sounds circle behind a bare drum sound. It's ominous and eerie before eventually getting into a groove and forcing you to dance. '1970' explores more of a rolling house vibe. It's warm and inviting despite the fact a snatched male voice sound is the only humanness in what sounds like a voyage to the edge of deep space. 'A Nebula Intro' is the final track and one that proves Pascual has plenty of range in his production toolbox. A little techier and more metallic than the other cuts, it's a loopy and hypnotic affair that draws you in with a dropped-shoulder beat and echoing percussion.
Stripped back but still detailed in all the right ways, Alberto Pascual's techno is precision crafted for maximum dancefloor impact.


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Here Uto Karem returns to Plus 8 for his second release on the label, with the two tracks he serves up - "Take Control" and "All Over You" - continuing in the rising Italian star's good run of form. As well as being an in-demand remixer, DJ and producer, Karem also runs his own Agile Recordings imprint on which he explores the same deep techno rhythms and loopy hypnotism as he does with his two original tracks here."Take Control" is a liquid track which builds in looped layers through piston pumping percussion, up-right beats and plenty of melodic drama. Though it pushes on from left to right in true Plus 8 style, the warmth and atmosphere that surrounds the main beats and bass is what really sets the track alight. "All Over You" again features a crisp, almost dry production style as various percussive elements flesh out a 4/4 techno groove. Hidden within each bar are some wooden sounding hits and various melodic notes, all of which are heart-warming additions to a killer dancefloor groove. As well as this, there is a more driving dub version of "Take Control" which canters on a knife edge for its six minute duration, closing out another efficient and streamlined techno release on Plus 8.


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27 year old Spaniard Alberto Pascual is the latest techno talent to be welcomed into the Plus 8 fold with Vertigo, his debut EP for the label.
A skilled DJ and live performer, Pascual has been producing since 2004, with over 30 releases to his name, all of which pursue a direct and powerful techno style. It's much the same on Vertigo, the title track of this EP which hits loopy depths immediately. Dramatic FX, crunchy hats and tension mounting hisses fill out the spaces between the beats, but the militant, marching groove never wavers.
'Truchas Rancias' is more reserved: Economical arrangements characterise the techno eeriness this time, forever hinting something is just around the corner but never quite showing you. Final vinyl cut 'Continuous Learning' is more unhinged, with swirling synths, dripping water sounds and shadowy voice sounds all coming together like classic Plus 8 weaponry.
The first of two digital only cuts, 'Serious Injury' is a warmer but equally pinpoint technoid affair. It builds slowly and with a tender touch, somewhat spaced out and perfect for the later hours, whereas 'Component' is at once a more hurried affair. It's impatient, loopy and hypnotic, building to a various electro charged zeniths.


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Italian-born Luigi Madonna made his name in his home town of Naples with early EPs released by Loose Records and Analytic Trail, catching the ear of many established techno stars before his original productions and remixes for the likes of Material and Drumcode began punctuating a succession of Plus 8 / Minus boss Richie Hawtin's DJ sets in recent months.

And so Hawtin has now called upon the producer to step up for his debut EP on the Plus 8 imprint, throughout which Madonna explores streamlined and stripped back grooves of the sort perfectly befitting the outlook of the label. The Sensation EP's lead track received a high profile debut in October, making an appearance early on in Hawtin's performance at the Boiler Room Minus special from ADE 2011 (which has thus far reached an online audience of over 100,000).
The EP is marked with the stamp of the Neopolitan's best work: '300' is hypnotic from the off, with wavy grooves building through warm apocalyptic winds and the slinkiest of hi hat patterns. Some rasping synth textures squirm through the whole thing toward the end, whereas 'Vibration works up and down as much as side-to-side. It's derelict, dark and devilishly functional techno whilst next effort 'Blaster' is punchy loopy perfection and 'Fuencarral' hops it way through classic Plus 8 territory whilst exuding a broody mood all its own.

'Sensation' itself has more of an insistent snap in its tail. The kicks and percussion here are livelier than before, with spraying synth sounds and classic techno percussion exploding into a beautifully bouncy peak time concoction.


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Frenchman Julian Jeweil’s second EP on Richie Hawtin’s Plus 8 label is sure to confirm Jeweil’s status as one of techno’s most reliable talents. The four track EP encompasses everything Jeweil has honed in his ten year plus career – tough sounds, high energy and a fusion of electro and minimal that hypnotises as much as moves you. Thus far it has come on labels like Cocoon and Skryptöm Records, whilst at the same time Jeweil (real name Julien Bérard) has been busy playing underground parties all across his homeland. ‘Hermanos’ is a thunderous affair where tight, bobbling basslines quickly unravel to expose a housier percussive line and kick drum in their midst. When searching synths begin to circle and a filtered vocal snatch and chilling FX play off each other, it’s anyone’s guess as to where the track will go next. Rather than exploding, it boils over then simmers repeatedly, with tension and motion coming from a number of apocalyptic samples, horns and bells. ‘Tabasco’ is even more tightly wound, with micro clicks and blips bubbling around an undulate beat structure that hits hard and deep once full in its stride. If that sounds good, things rally excel when frantic xylophone styled notes play busy, paranoid melodies that simply scream – ‘freak out!’ The third of four offerings, ‘Circus’ is another streamlined, urgent, minimalistic affair that establishes a groove early on before peppering it with the sort of abstract, alien sounds you’d expect. It’s bold and forceful but reserved and subtle at the same time, and it’s the balance between the two, which really enthrals. ‘Juice’ goes deeper and moans and groans in the darkened nether regions of minimal techno’s underbelly. A looping bass line falls deep below the twitchy synth stabs above. A micro-funk comes from the hooky percussive hits and the whole thing moves from a to b with a sleek, economic but efficient precision that confirms Julian Jeweil is well deserving of his place amongst the Plus 8 glitterati.

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out 3rd of oct
Since 1993, Sam Paganini has released a refined brand of deep techno that's won him support from the likes of Marco Carola, Timo Maas and Paco Osuna. Furthermore, his progressive techno offerings like 'Zoe' or harder efforts like 'Strobe' have also become chart topping fan favourites. As such, 2011 sees Plus 8 come calling for the revered Italian's sounds.
Titular track 'Cobra' is firm but not without groove. Whilst whole eco-systems of background FX, percussive slithers and wave-breaking synths add depth, a hurried techno beat drives things forward and builds in pressure. It finally breaks, melting to nothing but the kicking bottom end once more: it's techno perfection.'
'Last Call' proceeds at more of a canter, rising up and down as it rolls forwards. What sound like gale force winds howl in the background, darting in and out of the percussion, shifting your focus from here to there. It's brooding but balanced and plays out like a nightmare walk through a chilly, eerie forest in the dead of night.
'Phantom' confirms Paganini to be a man of economical yet efficient means - on the face of it another stripped down and pulsating cut, listen closer to the seven-minute workout and there's more abstract narratives hidden within the devilish background details. So, too, does this cut allow in more light than the rest when, late on, subtle rising chords inject some read hot warmth and a feel good undertones.


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DE - 22113 Hamburg
Germany
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