A mesmerizing dark techno statement from this Hamburgian Art School child prodigy. Curated with care by the label's dedicated A&R movement to maximize revenue in the contemporary musical playing field. On a more serious note; Hamburg based producer Yør is next up on Dutch powerhouse Creme Organization with a four track EP that continues in his muddy and muddled techno tradition. Yør has won himself many fans with but a few releases on labels like Purple Maze and shtum and as such deserves this step-up to Creme. Taking up the whole of the a-side, opener 'Lack Of Being' is a swampy brew of slowly churning, buried deep drums, droning synths and crackling static that conveys a real sense of loneliness and pain. B1 cut 'Unbennant' is a more propulsive cut with driven kick drums racing along beneath spangled and sinewy synth lines. Train track like percussive embellishes the sense of groove and then 'Torn' continues to canter along, with j uddering drums sounding like they might collapse at any minute. Again it feels like you are on some broken old train racing to somewhere ominous. Last track 'Apophis' is a little cleaner and more crisp, with icy hi hats, late night howling synth patterns and nimble, elastic basslines. This is darkly atmospheric music that is as uneasy to listen to as it is wholly captivating.

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After two in as many years, low-key German producer Yør returns to similarly low key Dutch imprint Purple Maze for his third full outing on the label in the form of the 'Sublimation EP'. Across the four tracks Yør continues to explore the same frayed and decayed, abstract electronics as he has in the past, with distant kins like Kassem Mosse and Morphosis still resonating. The opener and title track is an intense and moody, nerve jangling affair where huge searching synths pan in the background of grinding drums and dense percussive clatter before 'Gravity', with its heavyweight and churning drums, trudges on through sonic scuzz and lo-fi blizzards as a backlit melody keeps things from growing all too dark and abstract. The many different contrasting surfaces and counterpointed moods make Yør’s sounds as arresting as they are. The dystopian, tortured industrial funk of 'Parallels' with its slapping claps and decaying percussive lines are proof of that, where through chaos comes beautiful order. Closer 'Trust' holds its head a little higher, more spiralling synths and bleepy fax machines tones add a sense that the apocalypse is coming and machines will take over, but there’s enough organic beauty in the deeply hidden melodies to keep the track from being all too hostile.

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Expect to get lured into the Purple Maze with this third release by the Dutch imprint, once again by mysterious producer Yør with his “Modern Slaves Of Contemporary Contexts EP”. Again it will be a shadowy and esoteric dancefloor experience like few others. The EP starts with ‘ABCM’, a dystopian landscape of buzzing machines, ticking percussion and raw drums that builds and builds until eventually coalescing into a foreboding and roughshod house groove. The sound of circling space ships, dangling glass tubes and other odd effects flesh out the groove into something really quite intense. 'Dystopia' continues in Yør's tradition of contrary titles, because it's in fact a soothing cut doused in ambiance that relaxes you after the agro ride that went before. There are some bumpy beats underneath the whole thing but the large spaces above are what mostly occupy your mind, before 'Fear And Desire' comes over like a deep, spare Redshape cut: searching synths, a fine grain texture and plenty of disheveled Detroit vibes. Closer 'Phaedra's Love' is a scuffed deep house kicker with delicate tambourines, somber buried melodies and a only the faintest sense of optimism muffled in its concealed core... Modern Slaves Of Contemporary Contexts, then, is another great EP from an unordinary sonic world More

Enter the purple maze again with three subtle techno tracks from Yør. After some challenging an experimental offerings last time out, secretive musicos Purple Maze are to release their second offering, the Rave EP, in December 2011. It comes from equally low-key producer Yør, and is a release that operates a little closer to the dancefloor than maze 001... Despite the opening track?s title, though, ?Rave? is still no mindless banger. It?s heavy, analogue and deep house with a well-swung kick swaying back and forth to start it off. Soon as some minor chords drop in from above, though, the air turns dark and somber and things wallow. But with the arrival of some sandy hi-hats and grimy percussion, the mood grows optimistic rather than pessimistic, and picks up momentum as a result. ?Golden Boy? is slightly more mobile from the off. Again taught analogue bass notes start it, but nebulous samples and percussive sounds flesh out the structure as a panning tick grows louder and a radiant synth line weaves its way throughout the whole mix, threating to explode into euphoria. As a result you stayed lock in, willing it to break out, but it doesn?t? the subtle joy of the chase is immeasurable. ?2712? is like eavesdropping on a busy dancefloor from somewhere underground: The whole thing is in fine grain, with soft focus beats and indecipherable voices all muffled by static and tape hiss. It fades and dissipates with no warning and sounds as if it started long before we tuned in, and will go on long after the thing finishes? eerie, earthy stuff. A self-assured and delightfully suggestive release, Rave EP pulls you deep into the Purple Maze without you really realizing.
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Qnete brings four Power House bangers to the dance floor. The four tracks came to his mind during a Segway tour through Leipzig's problem districts. The two-part anthem "Alone Together" is a stirring field study in the ancient art of underwater rave. It will hit you like drops in a stalactite cave. "Segway City Tour" on the other hand feels like a trip to the fair of your dreams. All your favorite attractions in one place. After all, the no-nonsense Techno track "Gaze" winds its way through brain twists that you haven't even known before. More

Hello Leif Mueller on shtum. Pleased to meet you. Especially with such a strong debut release. Everything is starting with the no-nonsense-Techno track TELESHOP which is designed for big room pleasures. On WO IST MEINE PLAYSTATION 4? things get a little more psychedelic without losing the straightness you need to get lost in the dance tunnel. CAIRO is a lesson in keeping goose bumps alive with its up and down galloping synth stabs. To cool things down, the Stuttgart based producer drops NIGHTCLEANER, a quietly starting Ambient affair that evolves into a little Acid monster More

The new shtum comes from Planet Underground, a veteran Dresden resident who already contributed to the fact that the city was called "Little Detroit from the East" back then in the middle of the nineties. Since then, he has constantly been producing stripped to the bones tracks mainly for his own Elektrokuehlung label in his legendary place of retreat in Dresden-Striesen. Recorded between 1996 and 2010, the four tracks oscillate between raw Acid, classic Basement House and artful distortion. Bouncing and scrappy stuff at the same time. "Elektromat" was previously released on an obscure Dresden techno compilation and it took a while to find the master tape in the dust of the past. More

Once again, Perm has turned just the right knobs to give you the perfect soundtrack for your personal journey into Techno wonderland. The Leipzig based wizard simply knows how to leave dancers both dizzy and beatific. When those strings in "03-VIII" come together to its climax you're more than ready to embrace the night. The focus in "03-IV" is more heavy on the drum work with just the right amount of subtle tripping hazards. "03-III" builds and builds without ever bubbling over while the mighty "03-VIII" comes with a Boom-Tschak-Electro feel to it. The artwork comes courtesy of Carl-Johannes Schulze. More

Dresden's Lockertmatik starts his engines for the first time on shtum and delivers a string of tracks that seem to come from a not so far away dystopian future. Here are four tracks that are unpretentious but elaborate, effective... [more]

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The first compilation on the Dresden based label shtum unites three label regulars and one newbie with four tracks suitable for rampant basements. "Motorcity Racers" has been on rotation for quite some time amongst the label heads and is the first sign from Poland's Chino on shtum. It floats somewhere between dirty Detroit and the rough corners of the Netherlands. Leibniz delivers the "Real Life", a relatively straight follow-up to his latest EP, while Jaures hit their drum machines like there is no tomorrow. Perm's cut is all loopy and succeeds in creating an irresistible atmosphere with just a few elements. The artwork comes courtesy of Carl-Johannes Schulze.


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Leibniz takes no prisoners for his return to shtum. His new EP sees the Leipziger by choice in best form. Harsh but fair. ''Grind'' is a masterpiece in the matter of building up tension with only few but proper elements. Amen to that drumming and when the strings come in the dance floor is probably already burning. ''Foolish'' is no less effective with its ultimate kick drum action and the way the pads are manipulated. Romantic Leibniz. On the flipside you get the vibrant ''This Is'' in two versions. The ''Brecht Mix'' screams RAVE in capital letters with the bleepy synths and hard snare drum while the ''Scuff Mix'' trawls through dark and unearthy Techno territories. No-nonsense music. The artwork comes courtesy of DJ Shape and Carl-Johannes Schulze.
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Leipzig's Perm delivers a fine quality Techno EP on shtum with a nice versatile selection ranging from harder and jacking to deep and atmospheric. Especially Track 1 and Track 4 are worth a special mention.... deep Acid driven Techno tracks that will stand out in big dark basements with a (probably) unconscious link to classic techno on labels such as Probe. All the ingredients for a good night out in 1 record! The artwork is created by Julia Dichte.

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With the sixth record, shtum continues to introduce fresh artists with different perceptions on what Techno is about. After Jaures debuted just recently with an EP on Oliver Hafenbauer's label Die Orakel, the Uncanny Valley sub label is more than happy to welcome the two Berlin based boys on board. ''Detitled'' starts a trip to the dirty corners of your city. The track is loaded with punchy drum attacks and despite its dusty basses and synths, it doesn't lose its slightly melancholic vibe. ''Davos'' runs in the same vein with Jaures squeezing floating sounds out of their machines for a wild ride through the urban jungle. On the flip side ''Nascent'' starts gloomy and uncompromising before it builds up slowly until Jaures' rusty trademark synths are revealed. Finally, you'll get a ''Reprise'' to highlight all their sound research elements. Once again, the illustration on the B-side label is by Aram Ha ydeyan.


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Another new face for shtum but certainly not for all the Techno aficionados out there: Jacob Korn makes his debut on Uncanny Valley's sub label to celebrate his old but not forgotten love for dark and bleepy Techno. The tracks' origins date back to the 1990s when Jacob used to work with a MS-DOS based software sequencer called FastTracker. Imagine programming beats with Excel and look at the graphic interface on the A-side label of the record to get an idea of the workflow back then. Nevertheless, the tracks did not loose any of its intensity. "Backstar" comes with a straight Gabba-like kick and sharp synths before it freaks out with tight drumming and powerful bass line action. "Tribal" is even darker and will work at every Techno dance floor and FreeTek-Party. On the Flipside you'll get "Robot ?s Life Cycle". Merciless synth-stabs, the stuttering bass drum and one of those early Jacob Korn-pads join forces for a textbook example of a k iller dance floor cut. At last, "Komputermukke" is as simple as it is effective. This one is for all the heads who love their Techno neat and bleepy. The illustration on the B-side is by Sebastian Huber while Carl Suspect aka Carl- Johannes Schulze is responsible for the graphical tribute to FastTracker on the A- side.

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shtum strikes back with another fresh talent straight from Leipzig's basements. With only two releases so far, Leibniz' sound is already pretty forward thinking. On "shtum 004" he explores beats between dusty House, his Hip-Hop roots and off-the-grid drum patterns. The record starts with "YouAndMe" which showcases dirty percussion work and a cracking sample over an unstoppable piano melody. "Feli" is a House killer track through and through. And when that chord changes hands are up! Based on spooky synths "PukPukPuk" sounds like nasty Ambient with heavy beats. That tune surely cuts its own path on the dance floor. Finally, "Stumm" feels like one single Rave build-up. But with understatement it denies the climax. Once again, the illustration on the B-side label is by Aram Haydeyan.

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Turn on the strobe lights and the fog machine. shtum returns with its second record, this time by Dresden's very own Kryptic Universe. His EP comes with five cuts full of dark and gritty Future Jazz. His Techno Funk is playful as it is evocative. Just listen to the bass line in "A Light In The Box" and the appropriately titled "Critters Funk". Not to mention the crazy piano in the title song and the rather hard-hitting "Dark Sky". On top we got the mighty XDB on remix duties and his take on "Signals". Again, the illustration on the B-side label is by Aram Haydeyan.

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Psst! shtum is the new sublabel of Dresden's Uncanny Valley and it is created for proper techno and raw house tracks, music best listened to in a room full of strobe light and fog. Right at the start you'll get Monomood with three dark and powerful tracks. Parameter One is one of those Techno stompers you can't help but fiercely nod your head to. The lyrics in The Crafter might suggest it but actually nobody is afraid of the dark. Not even after hell breaks loose with unrelenting chords. Also, Vault takes no prisoners while keeping the cellar door shut with its nasty acid lines and raw drum work. The musical concept has been interpreted visually by Aram Haydeyan and Uncanny Valley artist Jacob Stoy.

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