Octave One continues to visit some classic Never On Sunday tracks with a second installment of their Messages From The Mothership series. This latest 12" finds the pair release two different Mothership mixes of 'The Bearer' and 'Contemplate'. The pioneering Detroit brothers have shown a different side to their sound with the Never On Sunday project, both back when it was devised in the early nineties, and more recently when they have looked back over some of the project's key tracks and added a contemporary spin to them. Already this year the Burden Brothers have offered up new takes on 'Price We Pay' and 'A Better Tomorrow' as well as dropping brand new cut 'Mirror Image' and now their fine form continues on this latest release on their own 430 West label. The A-side features a new Mothership Remix of 'Contemplate' from 2022 that unfolds over an epic 11 minutes of enthralling deep techno. The synths bring classic Detroit soul and the impassioned vocals layer in emotion to the sleek, compelling drums. The Instruments Version strips out the vocals and places more focus on the sublime rhythm and drums. On the B-side, ' The Bearer' from the 2023 album Never On Sunday gets a fresh Mothership Dub. It is another masterful and almost 12-minute journey that rides on compelling drums and is lit up with a majestic vocal that soars up high while the warm, dubby undercurrents keep things moving in dynamic fashion and smeared cosmic synths bring a great sense of scale. A Mothership Instrumentals version closes out the package. These are for more fresh perspectives on timeless house and techno fusions from the ever-innovative Octave One.

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Octave One stride into 2024 with a fresh four-track EP that once again showcases their unique take on techno with three new versions of classic tracks alongside an all-new cut.

Detroit's legendary Burden Brothers had a big 2023 that saw them release their superb Never On Sunday album, which was a nod to their 90s downtempo project of the same name. The bumper collection traversed deep techno, house, and tech in their usual inimitable style while the pair themselves continued to push techno forward with their incomparable live show at the world's most notable clubs and festivals. They now show that their creative reserves continue to run deep with four more essential tracks.

The first one is a new Mothership Remix of 'Price We Pay' with long-time vocal collaborator Karina Mia. The original appeared on Never on Sunday and this version comes on strong with vast rubbery kicks powering a deep and seductive groove. Muted synths roam down low while twinkling melodies fall from above next to the controlled, soulful vocal. The superb 'Mirror Image' is a new track that rides a heavy broken beat. Downtempo chords are melancholic but stirring and have a dramatic sense of finality to them.

'A Better Tomorrow' also gets a new Mothership Mix following its original release on the Burn It Down album back in 2015. Here it is a surging cut with funky guitar riffs and bleeping synth sequences that bring to life the thundering low end. It's a hi-tech and soulful fusion of the organic and the synthetic that will blow the roof off.

Last of all is a Mothership Instruments version of 'Price We Pay' that powers along on thudding drums with edgy synth stabs riding up and down the scales. Deft keys shine and twinkle and signature Octave One arps break out at the midpoint to take things to a higher level.

These are four more classic techno sounds steeped in great synth craft from The Burden Brothers.

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Octave One return with Never On Sunday Vol.2, an EP with new remixes from Orbital and Giorgia Angiuli next to three standout recent tracks. The Detroit duo’s Never On Sunday alias was born in the nineties with a view to making a mix of downtempo, deeper and more thoughtful electronic sounds. After just two EPs, it lay dormant until last year when the new EP The Bearer on their own 430 West label brought it back to life to a great reception. Then came the Octave One Presents Never On Sunday album this year that collected together a wealth of originals and remixes which are now coming on 12". First up is legendary brotherly duo Orbital - a UK antecedent to the Burden brothers who have been crafting pioneering electronic sounds for decades. Their remix of ‘Price We Pay’ feat. Karina Mia is deep house excellence. It has a bouncy groove, elastic bassline and simmering vocals that send shivers down the spine and the sci-fi synths twinkle up top. Italian multi-instrumentalist Giorgia Angiuli has long been innovating in the techno world, drawing on her classical background to craft standout sounds for the likes of Kevin Saunderson’s KMS label. Her remix is six uplifting minutes of synth arpeggios, soulful techno drums and epic breakdowns that will captivate any dance floor. The b-side features three cuts from the Never On Sunday (Deluxe) album and opens up with 'Lifelike', a slow, pulsing dub with mysterious melodies and sinewy synths reflecting light like stars in a night sky. A textured bassline arrives to bring a real sense of tension to the melodic beauty. 'Soon After' is another cosmic cut that rides on hammering bass beneath lush synths capes and rays of hope that pierce the darkness. The blissful 'Mona' closes down with heavenly and expansive pads that shimmer and shine as rich bell sounds and choral pads bring a warm sense of atmosphere. Never On Sunday Vol.2 is another package of deeply emotional electronic sounds.

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Octave One's deep and downtempo album “Never on Sunday” arrives in late April 2023. Before that, they release a special reworking of the album single “The Bearer”. Injected with the spine-tinglingly vocal performance from Karina Mia, the Burden Brothers revisit the track with a stripped sultry production ready for dance floors and playlists alike. Leading up to their new collection of deep rhythmic journeys and thoughtful atmospheric material, the ‘Brother’s Burden Pt1’ mix is a soulful mid-tempo groove that introduces you to Octave One’s “Never on Sunday” album in fine style.

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Relentless techno powerhouses Octave One stride in 2022 with a brand new release that re-affirms their status across two essential tracks. 2021 was another busy year for the Burden Brothers, who re-introduced the world to their Never On Sunday alias. The project first started in the 90s as an outlet for deeper, more introspective sounds and was fittingly brought back last year to great acclaim. The Detroit duo’s Locus of Control series also hit volume number three and the iconic Octave One live show continued to light up clubs everywhere from Barcelona, Paris and Geneva to LA and New York. Despite that, they still had time to cook up more of their famously soulful techno in the studio, the first two tracks of which are presented here.Opener ‘The Blue Drift’ surges ahead on waves of rattling metallic synths. Well swung claps bring that irresistible sense of groove, while twisted melodies add raw dynamics. Add in the heavy underlying bass and you have a classic Octave One track that is both physical yet emotional. On the flip side is ‘It-Just-Is’ a powerful statement of intent. It’s a stripped back track where house and techno meet - there is a seductive slide to the drums and potency in the turbulent synths which bring the energy. The melody is melancholic and as the emotive pads ring out they lodge deep in your brain to make for another standout cut. This vital new release proves Octave One remains right at the forefront of underground music more than 30 years after they started out.

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This fall, Detroit techno icons Octave One serve up the third volume of their Locus of Control EP series. The two-track offering again explores the ‘power or powerlessness people feel over the things that shape their world,’ and never has that been more true than during the last 18 months of the pandemic. It has almost been two years since the release of the last installment. Of course, the pandemic largely explains that delay, but that doesn’t mean the celebrated Burden Brothers haven’t stayed busy in other ways. Already in 2021, they have served up their Reworks and Whatever She Wants EPs, and have also revived their more introspective 90s alias Never on Sunday for a new EP later in 2021. More than 25 years after first starting out, they continue to shape the modern techno landscape with their famous analogue approach, as this new EP proves. It opens with the superb ‘Shameless,’ a heavily percussive yet elastic track that bangs from the start. The bassline is dark and menacing but also has a subtle sense of techno funk. Once the pixelated chords arrive, the track is doused in a cosmic energy that will take dance floors to the next level. Then comes ‘School of Seven Bells’, a straight-up seven- minute techno workout laden with rich layers of synth and a baseline full of suspense. It immediately gets you on your toes and the ever-evolving pads and loopy drums ensure maximum impact throughout. These are two more thought-provoking, body-shaking tracks from techno’s finest.

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Building on the success of Vol 1, Detroit pioneers Octave One now serve up Locus of Control Volume 2, continuing their journey of exploration of power or powerlessness over what moves one’s world. This EP comes after a busy series of shows for the most famous live act in all of techno, with them recently having played everywhere from Piknic Électronik Montréal to Movement to Dimensions Festival and many more. The show is an all new audio-visual experience for 2019 and continues to keep them at the forefront of the scene despite more than 30 years of experience. Locus of Control Part 2 follows a remix of Giorgia Angiuli and lands on their own 430 West label once more. This EP series takes its name from a psychological concept that refers to how strongly people believe they have control over the situations and experiences that affect their lives. Part 1 showcased euphoric piano stabs and uplifting drum lines, and Part 2 explores more propulsive techno. Up first, ‘Afrotech’ is a seven minute techno adventure. It’s built on sleek, crisp drums with twisted synths writhing about up top. The devil is in the detail and the way the synths are subtly tweaked throughout to make for a most dynamic journey once more from these brilliant brothers. The excellent ‘Detune’ is a futuristic track with layers of shiny metallic drums and taught synth riffs that make for a tense and thrilling ride. Big drums power things along and the whole thing is the sort of sensory overload that will blow up even the biggest warehouse parties and festival stages. These are two more powerful tracks from the ever essential Octave One.

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Having kicked off the year debuting a new audio-visual performance, enduring techno outfit Octave One announce new music for 2019, with a series of EP’s entitled ‘Locus of Control’. Featuring many unreleased nuggets, the series will feature unreleased tracks which were tried and tested at a recent Valencia Boiler Room set. The term ‘Locus of Control’ is a psychological concept that refers to how strongly people believe they have control over the situations and experiences that affect their lives. “Musically we are exploring the ‘power or powerlessness people feel over the things that shape their world’.” State the Brothers. Side One kicks off with ‘Lies In Truth’, euphoric piano meets melodic stabs layered with feel good crescendos and a positive uplifting baseline. Intelligent synth builds and layers making for a super strong lead track. Followed by Injection (String Free edit) with an intensifying and pulsing rib rattling bass. Side Two features the full version of ‘Injection’. The thundering bass takes you on a journey of transcending arpeggios, developing progressions and meandering melodies making the track a peak time cut.

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Fresh for 2018 the ever pioneering Octave One are bringing us some brand new music for the new year. Using their much loved Random Noise Generation alias the upcoming release entitled 'N2 The Enfinate , contains a new single as well as a remake of 'Rock my Soul' in the form of the 'Reborn Vocal Remix'. The first Random Noise Generation release was 'Falling in Dub' in 1991 and sounding just as fresh 27 years later,‘N2 The Enfinate’ is due for release this March. For this single a retro energy has been explored in the title track 'The EnFinate', running parallel to a more contemporary groove and rolling, marauding baseline. The second track on the package, 'Rock my Soul' (Reborn Vocal Remix) starts with a strong intent and a weighty bassline paving the way for precise and bright chord stabs. The single is taken from the new album 'Endustry', a full body of work encompassing 7 full length cuts, set for release in spring.

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A year after their impressive last album Burn It Down, Detroit techno legends Octave One are back with a nine track double EP that again shows they are masters of big hypnotic grooves. Entitled Love by Machine, the album’s name is a nod to the fact that the Burden brothers are such revered masters of their hardware. Both in the studio, where they cook up atmospheric house and techno with soaring synths and vocals and also in the live arena, where they are celebrated as one of the most accomplished and forward thinking performers in the game today.Things open up with the loose metallic percussive line that is In Mono, which sets the machine made tone and is filled with promise. Locator then immediately gets to action with a gallivanting techno kick and various synth lines wrapping round each other as you get sucked into the groove. Just Don’t Speak (Midnight Sun Redub) is a more deep and house leaning track with big feel good piano keys and slithering synths that will get hands in the air. Proving they have real range, 7 B4 Dawn is a moody and reserved cut with subtle acid pricks, hip swinging claps and a spaced out dead of night feel. The second half of the album offers peak time business in the form of the spectacular Bad Love II, the whirring and cosmic Sounds of Jericho and the big loops and fluid grooves of [Where] Time Collides. Pain Pressure is a wonky number with big bassline and a focus on percussive patterns as well as some vocals with real attitude and last cut 8 B4 Dawn ends things in a downbeat and sombre way with sad chords and emotive strings. It is pure Detroit, much like the whole album, and rounds out another fine release from these most revered veterans.

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Techno's brothers on the run, Octave One, take time off from global touring to deliver what promises to be one of the biggest dance anthems of 2016. The remixes of the irrepressible "Jazzo/Lose Myself" are creating such a stir that it is shaping up as the biggest release by Lenny and Lawrence Burden since their iconic ) "Blackwater". Like "Blackwater" it features vocals from Ann Saunderson , so history looks set to repeat itself. The track started off on the Octave One startlingly good album "Burn It Down" but is enjoying a new lease of life with separate reworks come from long time Octave One devotees Paul Woolford and Matt Playford, and they each deliver big time with "reaching for the lasers" dance floor winners. There is also an "Ocapella Mix" by Octave One for DJ's to have fun with and "Bad Love", a new recording available for the first time. The result is a 12" that will appeal to lovers of Paul and Matt's distinctive sound on labels like Planet E, Cocoon and Skint as well as devotees of all things 430 West. Paul's remix has had support from the likes of Sasha, Pete Tong and Annie Mac and as well as club plays has been getting plays on Radio 1.

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Octave One stride into 2024 with a fresh four-track EP that once again showcases their unique take on techno with three new versions of classic tracks alongside an all-new cut.

Detroit's legendary Burden Brothers had a big 2023 that saw them release their superb Never On Sunday album, which was a nod to their 90s downtempo project of the same name. The bumper collection traversed deep techno, house, and tech in their usual inimitable style while the pair themselves continued to push techno forward with their incomparable live show at the world's most notable clubs and festivals. They now show that their creative reserves continue to run deep with four more essential tracks.

The first one is a new Mothership Remix of 'Price We Pay' with long-time vocal collaborator Karina Mia. The original appeared on Never on Sunday and this version comes on strong with vast rubbery kicks powering a deep and seductive groove. Muted synths roam down low while twinkling melodies fall from above next to the controlled, soulful vocal. The superb 'Mirror Image' is a new track that rides a heavy broken beat. Downtempo chords are melancholic but stirring and have a dramatic sense of finality to them.

'A Better Tomorrow' also gets a new Mothership Mix following its original release on the Burn It Down album back in 2015. Here it is a surging cut with funky guitar riffs and bleeping synth sequences that bring to life the thundering low end. It's a hi-tech and soulful fusion of the organic and the synthetic that will blow the roof off.

Last of all is a Mothership Instruments version of 'Price We Pay' that powers along on thudding drums with edgy synth stabs riding up and down the scales. Deft keys shine and twinkle and signature Octave One arps break out at the midpoint to take things to a higher level.

These are four more classic techno sounds steeped in great synth craft from The Burden Brothers.

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Octave One are back. The mesmerising "Jazzo" is their latest sonic assault on ab electronic music landscape they have helped define. Even though Lenny and Lawrence Burden have now relocated to Atlanta, they remain at the epicentre of Detroit Techno. Octave One came to prominence in 1990 via the Virgin album 'Techno Two : The Next Generation' which also brought to the dance community for the first times the names Carl Craig, Marc Kinchen and Jay Denham. Since then they have released a series of genre defining (and expanding) tracks as Octave One and alter ego Random Noise Generation on their 430 West label. And the Octave One live shows have become infamous all over the globe as outpourings of Emotions Electric energy. The release on 430 West in 2000 of the epic "Jaguar" by DJ Rolando brought extra attention to the label, and this was surpassed shortly afterwards with Octave One "Blackwater", quite simply one of Detriot Techno's finest moments. The single led to the album "The Theory Of Everything" which explored diverse musical directions, An embryonic version of "Jazzo" was started but then forgotten about. After being rediscovered in the 430 West archives it has been remodelled and the result has become an anthem at the live shows. Now it is available as a limited run 12 inch single on 430 West. The Mothership is about to take off again.


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‘New Life’ is the powerful new soulful-techno outing from some of the most prominent brothers in the world of electronic dance music, Octave One. Armed with a pulsating bass line, driving beats and those lush, dramatic signature O1 strings, ‘New Life’ carries a message of positivity beautifully sung by Atlanta vocalist, Afrika (aka Lana Fallon). She is a versatile vocalist hailing from Atlanta. She previously worked with the likes of Tupac, OutKast & Curtis Mayfield as an engineer back in the day, but now shines as a singer in her own right!



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Revisited Series 5 coming soon with incredible techno remixes from Planetary Assault Systems, Ken Ishii & Luke Slater !



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one of the most played classics return in late 2011!

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After the brilliant ‘Love & Hate’ & ‘I Need Release’ remixes from Cari Lekebusch & Alexander Kowalski (4wcl003), 430 West records is back with ‘Love And Hate’ & ‘Nicolette’ restructured by Cari Lekebusch & Vince Watson. The series continues…



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430 West continues to celebrate its 20-year history, allowing two more Octave One classics to get the remix treatment from some of the Burden brothers’ favourite artists. For the latest instalment, Sweden’s Cari Lekebusch takes on ‘Love and Hate’ originally released on Octave One’s ‘Off The Grid EP’ on Berlin’s seminal Tresor Records. Which takes us neatly on to another Tresor (and Kanzleramt) artist, Berlin resident Alexander Kowalski who restyles ‘I Need Release’. Featuring vocals from Ann Saunderson, it was the first release taken from Octave One’s ‘Summers on Jupiter’ album.



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*** Vinyl limited to 200 copies ***

The fifth release on Objekt’s Kapsela imprint is (re)weave, an EP of crystalline club tracks from Detroit-born, London-based producer Tristan Arp.

(re)weave was written during a prolonged period of flux for the artist. “When I started making this record, my life and the world felt like a maze,” he recounts. As he routed and re-routed through past and future homes – Mexico to New York to Detroit to Mexico and finally to London – his output bore the marks of this repeated uprooting. “I was thinking about making music that reflected these twists and turns, and the knotty pathways through them. I was also re-reading Borges around this time, which must have influenced my interest in labyrinths.”

Accordingly, the EP is a mycelial puzzle, a tangle of spidery, undulating ostinatos and earthy percussion, stitched through with syncopated kicks. Employing the sounds of multitudinous critters and kin – whales, insects, thunder, water, forests – the arrangements sum to a sentient mesh of organic matter, the compositions living and breathing like earthly beings. Kaleidoscopic tendrils explore in every direction but are always underpinned by a driving, percussive backbone. It’s not easily classifiable: it’s bass-driven, but to simply call it “bass music” would sell it short.

In keeping with the winding geographical paths traced over the EP’s creation, (re)weave saw Tristan Arp revisiting and reinterpreting unfinished sessions and incorporating them into newer ideas. Rhythms and sounds have been transplanted and self-recycled from previous projects and woven into the fabric of the record. In this way, (re)weave also describes a looping back over time, a recalibration of the self from past to present through interlocking rhythms, channeling and communing with versions of oneself from times gone by.

The closing track, Wish Server, slows the EP to walking pace and hints at tentatively emerging from the deepest jungle into a delicate, innocent light. Tristan Arp imagines it as a dialog with a baby-self. “Some of my earliest memories are of sitting at my mother’s loom,” he offers. “The sequence of these tracks traces these feelings and follows the thread back to the primordial soup… through mazes… to a feeling of levitation.”

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“sitting in the terminal at Barcelona airport, health safety warnings echo through empty architecture. feeling slow, and fast, out of sync with rituals and routines. structure and rhythm disintegrate into micro gestures appearing in random order, a daily psychedelia... amid all of the chaos and distraction in the last few years, it’s only through letting go that I've found solid ground to stand on.”

These are some of the experiences and reflections that gave shape to Slipstream, a hallucinatory mini-album by the artist PVAS and the fourth release on Objekt's label, Kapsela. Slipstream is an aural document of PVAS's interior life, conceived not as a grab-bag of DJ-friendly tracks (although it’s clearly inspired by the club) but as a single, delicately crafted artistic statement. The entire record is shrouded in a flickering haze, worn through by smudged breakbeats and wiry drum machines. “Wetland”, with its swampy percussion and crystalline arps, echoes T++ and Kraftwerk. The radiant incandescence of “Gathering Drift” recalls GAS or Monolake's “Hong Kong.” Sampled breakbeats dip and swerve asymmetrically through “Boba” and “Terminal”. Across the record, textures and voices are reshaped by PVAS's homemade algo-software, UMT, which, in PVAS’ own words, “reconstructs one audio file by sampling another, resulting in output that merges their aesthetic qualities, creating rhythm with non-rhythmic sound files and abusing the stereo field.” But the most striking union of technology and poetic self-exploration comes at the end of the record, in the title track, from words murmured through a classic vocoder:



“when i stop framing myself as a boundaried stone

immovable, and powerful, and heavy

when i stop figuring my deepest space as my own

something which i am solely responsible

i surrender, i surrender”



PVAS is Jordan Juras, a Berlin-based artist who grew up outside of Windsor, Ontario. He has released solo EPs on Isla and xpq?, and is half the duo NUG (3XL, West Mineral Ltd.). In addition to developing music software professionally, he has used his UMT software on records by Lyra Pramuk and Dylan Kerr. Slipstream was recorded from 2022 to 2025.

Written and produced by PVAS

Mixed by TJ Hertz

Mastered by Anne Taegert at D&M

Artwork and design by Brodie Kaman

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Repress!

As 'Portrait With Firewood' is Felix's most personal body of work to date, the product of an emotionally turbulent 2017, capturing the range of feelings and emotions he went through in vivid sonic beauty. By putting aside his previous sampladelic approach he returned to his childhood instrument of the piano as a core starting point. "It's a confessional record… I realise that's a word mostly used to describe singer/songwriter rather than (largely) instrumental music, but I think it's apt. There's a sort of emotional candour." Felix is classically trained in the jazz tradition and influenced by the likes of Keith Jarrett and Alice Coltrane. Previously he was shy at the prospect of fans hearing his piano playing, but determined to overcome this fear he has brought forward a new honesty to his work. "Finding the confidence to work with my own piano improvisations was a big part of that. Once I had figured out how I was going to make the music, it actually fell in to place rather quickly." Felix's goal was to create something "overwhelmingly beautiful", but also to capture the "inherent melancholy in beauty in all it's impermanance and fragility". He took inspiration and solace from performance artist Marina Abramovic. "She has an incredibly deep understanding of the human condition, and expresses it in such a poetic way. Many of the themes of her work had particular resonance for me over the course of 2017 as I worked on the album. I was moved to tears on several occasions watching her videos or reading about her work." Felix collaborated with cellist Zosia Jagodzinska and vocalist Lola Empire. Jagodzinska recorded several takes of improvisations over the track 'Creature' which Felix would chop, pitch and layer into new melodic lines and seed throughout the album. Felix's new approach expanded to experimentation with field recording, contact micing his beloved piano and purchasing his first hardware synth, all in service of enriching the personal, humane quality of the record. "Music helps me to communicate the sorts of things that I find almost impossible to put in to words. I think the process for this album has helped me create a more rich and emotionally complex body of work than I have managed before."

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James Shinra continues his ‘Shinra Electro Company’ series with 4 acid-laced tracks exploring different aspects of his sound. Opener ‘Acid Every Day’ keeps it simple by combining hard hitting drums with a 303, while ‘Back’ adds a soulful touch with vocal snippets and dubby chords. On the B-side, 2 sub-rattling DJ tools.

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