Ever evolving Dutchman A Made Up Sound is back with a new EP on Delsin a whole six years after his last. Here he proves once more why he is so vital across four cuts of heavyweight technosoul. Thin Air pairs fast-paced 4/4 beats with stormy layered pads, all coalescing into affectional yet powerful techno grooves. In typical AMUS fashion, with its swung drums, sampled chordlines and flanged percussion it's simply hard to categorize but easy to love.

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Part two of the A Made Up Sound 007/008 double drop. Killer pan-around beats and morsecode-like pads build towards sonic mayhem on the A-side, while the B-side sees the highly anticipated Half Hour Jam On a Borrowed Synth finally get its release.


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A Made Up Sound returns to Clone Basement Series with the third volume in his Archive sequence!

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Storming tracks from the 2562! TIP!Never happy to stay in one place, Dave Huismans (aka 2562) is now focusing on his techno-not-technoproject A Made Up Sound again, after earlier releases on Shed’s sought-after Subsolo label, Philpot and Clone. The four recent releases on his own A Made Up Sound imprint were essentials for those who like their house and techno swung, bass-heavy and uncompromising. This first release on Delsin will probably be damaging dancefloors worldwide, finding fans with both oldschool technoheads and newschool bassjunkies. Twice straight in your face, uncompromising advanced music!


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Blawan's new side project Bored Young Adults is up next on Will Bankhead's label The Trilogy Tapes. The Shy Dancers On Bungalowdorf Beach features some restrained and slow burning techno experiments that differ from Jamie Robert's more usual hard-hitting sounds. The seething title track treads the same path as Kassem Mosse or Vactrol Park. The Fentanyl techno of "But We Need This Bench" sounds like an old Regis record played on -8, while devoted fans of the young UK producer's sound will get something a bit more familiar on the menacing hypnotic techno grinder "Check Up From The Neck Up".



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Following the announcement that they've collaborated with perma-masked Zomby on his upcoming LP for Hyperdub, behooded hardware manglers Rezzett return to home soil for their latest, and perhaps best so far, 12" for The Trilogy Tapes. With a very defined, redlining approach to techno and hardcore tropes established across their prior output on Will Bankhead's label, the duo demonstrate there is still plenty of scope for invention on Doyce. In essence you get two versions of the same track either side of this 12"; the A-side is nominally the club cut though there is a feeling of restraint where usually Rezzett deal in speaker bursting madness. The "Yavas" version on the flip is quite something else however, discarding with any rhythmic elements over an eleven-minute journey into mind-bending sonics based around that quite exquisite mangled synth line.

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Blawan's new side project Bored Young Adults is up next on Will Bankhead's label The Trilogy Tapes. The Shy Dancers On Bungalowdorf Beach features some restrained and slow burning techno experiments that differ from Jamie Robert's more usual hard-hitting sounds. The seething title track treads the same path as Kassem Mosse or Vactrol Park. The Fentanyl techno of "But We Need This Bench" sounds like an old Regis record played on -8, while devoted fans of the young UK producer's sound will get something a bit more familiar on the menacing hypnotic techno grinder "Check Up From The Neck Up".



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Terrific record! Eight charged, intimate meditations by Julie Normal and Olivier Demeaux, playing a rickety ondes Martenot and an old church harmonium. Gripping, detailed, stately improvisation — a bit like the ùrlars in classical bagpipe music — which nervily mixes the sternly doom-laden with precarious, other-worldly wonderment. (The ondes Martenot is an amazing twentieth-century instrument — beloved by Messiaen, for example, and Varese. The theme-song of Star Trek is a vocal forgery of its sound. ‘J’aime cette fragilité qui côtoie la capacité de te décoller le tympan sur certaines fréquences inopinément,’ says Julie. ‘Je tiens une bombe dans les mains. J’aime son instabilité, son humanité.’) Wood, breath, blood, eggshells… on the night of a purple moon. Very warmly recommended.

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Four track EP produced by Samo DJ & Elias Landberg.

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Under his Chemotex alias, Marcos Cabral has been one of The Trilogy Tapes most productive artists in recent times. This is his third 12" for Will Bankhead's imprint in less than 12 months. Unlike Cabral's recent album for L.I.E.S, which reveled in its' own distorted, balls-out intensity, Thulsa strives to get a balance between becalmed techno hypnotism, skuzzy grooves and gently melodious intent. This blend is perhaps most satisfyingly mixed on the industrial-tinged clank of "Delta City", though the woozier, scuffled late night warmth of "Music For Security" pushes it close. Twice he heads towards deeper territory; first on the title track's trance-inducing synthesizer loop groove, and secondly on the dubby, locked-in tech-house majesty of "Lorentz".

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Coruscating cut-ups yanked still dripping and yowling from the belly of the beast. Dazzling and invigorating, scary and discombobulating. 'Psychic driving was a psychiatric procedure in which patients were subjected to a continuously repeated audio message on a looped tape, in order to alter their behaviour... often hundreds of thousands of repetitions of a single statement over the course of their treatment. They were also concurrently administered muscular paralytic drugs such as curare... The psychic driving procedure was a chronological precursor to Cameron's depatterning, involving massive doses of ECT combined with similarly large doses of psychedelic drugs like LSD. The intent was to break down the subject's personality — theoretically psychic driving could then be used with some efficacy in establishing a new personality' (Hanson Records).

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Under his Chemotex alias, Marcos Cabral has been one of The Trilogy Tapes most productive artists in recent times. This is his third 12" for Will Bankhead's imprint in less than 12 months. Unlike Cabral's recent album for L.I.E.S, which reveled in its' own distorted, balls-out intensity, Thulsa strives to get a balance between becalmed techno hypnotism, skuzzy grooves and gently melodious intent. This blend is perhaps most satisfyingly mixed on the industrial-tinged clank of "Delta City", though the woozier, scuffled late night warmth of "Music For Security" pushes it close. Twice he heads towards deeper territory; first on the title track's trance-inducing synthesizer loop groove, and secondly on the dubby, locked-in tech-house majesty of "Lorentz".

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