Tracklist

A1 Cannon Fodder (Original Mix)
A2 Cannon Fodder (Planetary Assault Systems Rework)
B1 Cannon Fodder (DJ Sotofett's Sound Clash Mix)


Life and Death welcomes Italian synth wizard Lucy, for the label's inaugural release of 2017.

Luca Mortellaro's cavernous techno offering comes equipped with a DJ Sotofett version and a rendition by Planetary Assault Systems, further cementing the diversity of the label's scope.

DJ Sotofett recalls fine nineties loop techno while Luke Slater once again confirms his pioneer status.

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Tracklist
A1 The Hermit
B1 The High Priestess

The essential and ever-evolving !K7 collective is adding a new label to its family in the form of Zehnin.

Taking charge of the first release is Lucy, who has evolved his distinct sound signature by reconciling the deeply personal with the esoteric, and by harmonizing the spheres of technology and biology. Whether he is acting in the role of producer, DJ, performer, or Stroboscopic Artefacts' curator, Lucy's clear passion for creative evolution and mutation is something that continues to attract new listeners, and keeps giving his current supporters new reasons to continue tuning in.

EP opener 'The Hermit' is eight minutes of spacious and cerebral techno. Rolling drums are buried deep as little flecks of sound design peel off the groove. Occasional bell hits bring a sombre and languid feel despite the drive of the drums, and it is the sort of perfectly absorbing track that will suck you down a 5am rabbit hole. On the flip, 'The High Priestess' is a similarly mental work out that is empty and eerie, with distant drones and yawning pads outlining a vast underground space. The drums here are again rubbery and rolling, but a little more prominent, and the whole thing manages to be both soothing and unsettling.

After this fine EP starts the label in style, a remix EP from Blawan will follow.
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UPC: 827170519565/ Release: 06.12.2013
Tracklist: A1 Lucy - 201 Phasing B1 Lucy - 201 Phasing (Dadub Remix) B2 Lucy - 201 Phasing (Chris Liebing Triple Bell Edit)
Lucy is back on CLR with another one of his mind-bending, deep and hypnotic Techno productions. Those who have already appreciated his unique approach to modern Techno in previous tracks will surely like the "201 Phasing" EP by the Berlin based, Italian DJ/producer. It contains Lucy´s slow burning original version, an excellent remix by Dadub and a skillfully crafted edit by Chris Liebing. The original version is a sonic journey that unfolds progressively over a time-span of more than 10 minutes, making the introduction of each individual element appear even more meaningful, impactful and exciting. The Stroboscopic Artefacts founder has proven over and over - and now once more, that he belongs to the fraction of inspirational artists who are gifted and sensitive enough to do a track of this kind and keep it interesting and absorbing all the way. The present EP is another big step in his personal evolution and a clear proof of his significance in today´s world of electronic music. Dadub consists of Daniele Antezza and Giovanni Conti and is a duo whose output is underpinned by a mutual curiosity and a love for Lee Scratch Perry´s mixboard experiments. The Stroboscopic Artefacts core artists and mastering wizards have gained much praise for their persistent longing for innovation and the unique textures of their productions. Their pleasantly driving remix of Lucy´s "201 Phasing" impressively keeps their promise of building their tracks completely from scratch, without any random or pre-programmed sounds. Chris Liebing´s "Triple Bell Edit" is everything you might expect from one of today´s most restless and acclaimed Techno producers. Powerful, dynamic and reduced to the absolutely essential, the faithful ambassador of uncompromising Techno has taken Lucy´s latest work and has edited and re-worked it into a seriously impactful piece of cutting edge peak time Techno. His intense excursions into the depth of sound, while recently mixing down several CLR artist´s albums and EPs has paid off and can be noticed, heard and eventually felt in the bass-heavy and crispy sound of this edit. The "201 Phasing" EP is a release we can recommend to everyone who is into up to date, open-minded Techno. All of the three mixes represent a certain stylistic niche in the ever-expanding field of electronic music without limiting themselves to any predetermined pattern. CLR adds another faultless release to the label catalogue and we hope you will enjoy it as much as we do!
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UPC: 827170136229 Release: 17.02.2014
Tracklist: 1 - The Horror 2 - Leave Us Alone 3 - The Self As Another 4 - Human Triage 5 - Laws and Habits 6 - Follow The Leader 7 - Catch Twenty Two 8 - The Illusion Of Choice 9 - We Live As We Dream 10 - All That Noise 11 - The Best Selling Show 12 - Falling (feat. Emme)
Churches Schools and Guns. A provocative name for a provocative album of techno from one of the genre's most consistently intriguing producers, Lucy. This, his second solo album, pushes forward from his debut full-length, 2011's Wordplay for Working Bees, and firmly establishes him in a league of his own. Over the past few years Lucy's label, Stroboscopic Artefacts, has became a watchword for techno's vanguard - providing a platform for new artists pushing at the genre's boundaries and a harbor for some of the most experimental work from names you already recognize. Lucy's progress as a producer has followed that same trajectory, moving from relatively straightforward dancefloor-driven material to deeper, murkier places. Churches Schools and Guns continues on, a collection of 12 tracks that sound - more than anything else - like the act of searching.
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With Lucy creates a blueprint, not just the departure point for the full length format according to Stroboscopic Artefacts, but he also lays down new possibilities for the techno album. Refusing the obvious 4/4 route, Lucy traverses the widest possibilities of electronic music. ‘Wordplay for
Working Bees’ encompasses IDM that leans towards drone, puckering, dub-filled techno and ambient in its most oblique forms. The beloved character of Lucy’s DJ sets, the way he layers tracks to find unique timbre and tone, is reflected in his studio approach. Lucy’s debut album results in the most delicate and delicious
juxtapositions, as the unexplained and unexpected tangle together in the ear. The search for hybrid structures begins with ‘Thear’. Through Stockhausen’s words Lucy hints at a manifesto: Whenever we hear sounds we are changed, no longer the same. The record is textured with riddling vocals –be it the slither of a UN summit speech to heard on ‘Eon’ or the wisps of Le Corbusier on ‘Gas’— and none are used with idle intent. Just as on ‘Eis’, where the samples appear to be engaged in discussion but the thread of their argument is lost in the granular synthesis, the tracks are abstracted enough to provoke your own interpretations and critical judgements. The vocals’ inclusion gives rise to questions, and the ambiguity of ‘Wordplay for Working Bees’ creates an architecture that facilitates debate.
It’s not just escapist or hedonistic dance music, but a concerted, dissonant effort to challenge the listener’s preconceptions. David Toop’s Sinister Resonances can certainly be heard. This mood of provocation with no certain resolutions is a fitting description of ‘Es’. It’s a track with a long half life; it resonates, poised and pertinent. ‘Es’, the German for ‘it’, is an apt title for the indescribable mood where the ecstatic meets the melancholic. It’s hard to know what this ‘it’ is, but ‘Es’ transposes it perfectly. Amid these ambient, dubby tracks it’s rare and also somehow exotic when the 4/4 techno of ‘Bein’ does emerge. Equally ‘Torul’, which sounds as if it samples the swinging of a meat hook, has the potential to be devastating on a big sound system. To close the record ‘Ter’, with its pattering percussive-line full of hypnotic persistence, is a stunning ending. It seems to be the sound of melting ballerinas. As a body of work it’s cohesive and impressive, a result of Lucy’s process. With the release of the very first vinyl on Stroboscopic Artefacts he began laying down the inital sounds for the album. Over the label’s first year he worked across all eleven tracks. In a way the record charts the development of his sound and the strengthening identity of his record label. It’s certainly not a portrait of the artist, it’s a landscape. Composed as it is of field recordings from parks, streets and Lucy’s apartment, it’s difficult not to see this as --at least in
part-- a depiction of Berlin. ‘Wordplay for Working Bees’ is certainly influenced by the sounds coming from Berlin’s clubs, galleries and forgotten pockets. Lucy holds a mirror up to the Hauptstadt, only to distort and redefine its reflection. The abstraction and processing of the album’s subject matter has a painterly quality
and it’s evident that in creating ‘Wordplay for Working Bees’ Lucy slaved with technology to master it so brilliantly.
Tracklisting:
1- thear
2- tof
3- bein
4- gas
5- lav
6- eis
7- torul
8- eon
9- es
10- mas
11- ter
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Lucy’s ‘Banality of Evil’ EP teases apart the dark sides of human psychology and lays them down as fractured, angular tracks. Inspired by Hannah Arendt’s writings on conformity and totalitarianism SA013 makes for provocative listening. ‘Superior Orders’ is an off kilter introduction: Lucy took synth lines that Roll The Dice crafted in Stockholm and broke them down, buckling the lines and revealing their malevolence. ‘Stanford Prison’ layers wistful top lines over driving base creating a fluid, transitory atmosphere. ‘Milgram Experiment’ opens with a beautifully simple sequence and splinters into deep, warm dub. The track includes voices, but these are not catchy euphoric vocals, instead a voice repeats: ‘I began to feel that I was losing my identity’. The tracks don’t aim to soundtrack the experiments and theories of their titles, instead they act as a point in case. More

upc/barcode: 827170534162 Release: 31st March 2014
Tracklist: A side: One Month Off, The Wall
B side: Cave Dwellings, Marker Shop, Viewpoint

The third release for Stroboscopic Artefacts in 2014, SA22 is the new cut from Italian producer Chevel. 'One Month Off' is an EP built around the abstract themes of construction, starting with demolition and ending on perspective. Opening track 'One Month Off' combines a warm thump with skittering percussion. Ragged cymbals build pressure. As the track continues to strut, through insistence as much as confidence, it gives out. 'The Wall', next up, is perhaps misleadingly a more unsettled affair. There is little linear impetus, a panoply of syncopated beats and foreign noises from the undergrowth. This is a wall of multitudinous surface, a front concealing the unsettled and unsure within. 'Cave Dwellings' is a more organic construct, building from the traditional basics of a kick drum and hi hat. Like the opening number this is a confident piece, but the Caves resonate with greater darkness and menace. The kick squelches at the bottom, the snare drips; glistening echoes bound through the chamber. 'Marker Shop' is fourth up, uniting disparate urges and glorious moods. The beat is uncomfortable, and repeatedly gives way. The record closes on 'Viewpoint', a piece of warmer perspective. It is not, however, a calm scene: in many ways this is a view of something more unsettled than what has come before. It is both jungular and industrial, an uncompromising marriage of nature and noise.
Chevel lands, then, on SA, with a discussion of construction and constructs. Out on March 31st.
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