UNFORMATED BREAKZ

80/100 BPM Industrial Dub EP / First proper vinyl release by Rony & Suzy!! After more then 10 years of diversified musical productions and numerous live shows, here it finally is! A deep and dubby 5-tracker which brings together a broad spectrum of influences. How to describe it? Raster-Noton meets dubstep? T++ vs Andy Stott vs Scorn? Whatever just listen and grab it quickly as it’s strictly limited to 333 copies which come in a black and white artwork sleeve.

The pisture version finally arrived ! LTD Edition to 300 Copies ! Industrial Noisy Ambientish Punk-nawak-mais-pas-tout-a-fait... A cold and darlk beatyfull thing. Back to the roots.

Projet 2501 : The Album... Issuing on 25/01/2010 as expected. A musical realese for all electro-break-core-dub-tek lovaz... All musics are exploring new possibilities, there are nothing formated hear : excellent ! The Cds features all the Vinyl realeses (on P2501, Toolbox, Mirex...) and loads of unrealesed tunes + one Video.

Expreimental breakz stuff, dubsteppin' beat under a broken beat and weirds scratsches and Vocals. Nice.

After an edition of approximately 28 slash-up albums regurgitating the entire 20th century of music and beyond, The Allophons present their first E.P. of non-sampled material. All of the trademark Allophons elements are present - the gorgeous vocal swells, understated trance-funk rhythms and twisted melodies. The Allophons could pretty much fart into a four-track, burn it to a CD, slap their name on it, and we would release it. Thankfully this is not what The Allophons have done on this brief-yet-spectacular BOW E.P. This swooper is a beautiful, skillfully sequenced pop nugget. Starting with the dazzling voodoo opera "Bow", the E.P. leads you through the funky outer regions of sound. "Voc Beans" is a disco run by breakdancing midgets, "Who's the Papä" slaps DSP like Mark King used to slap his bass. On the B-Side laptop connoisseur Randomiz and electro-acoustic chef C-Schulz serve your ears with "In the end", a jazzy oddball reminiscent of Thelonious Monk's wacky rhythm arrangements as well as Miles Davis' space pop excursions. Randomiz's well tempered sequencing meets Schulz's vocal extravaganzas in "The Töpfer Singers", a whimsical diamond with dueling layers of vibraphone and jew's harp (played by swiss jew`s harp wizzard Anton Bruhin himself) that slide effortlessly in and out of the mix. The Record's pumping finale is "Elf", also the pumping finale of The Allophons' spectacular live sets. BOW is a full-blown blessing for those of you with turntables: it's pure pop goodness you love, with less of the annoying pops and clicks you don't.

Raoul Sinier's fourth full length album sees this Paris-based multi-talented artist repeat the tour de force that was his 2007's “Wxfdswxc2”: the thirteen tracks of “Tremens Industry” come packaged together with more than two hours of videos and documentaries. Not only a logical continuation of his discography or an accurate way to get acquainted to his art, “Tremens Industry” is Raoul Sinier's definitive and most important release to date.

Detritus's fourth full length album is both a general update of what could be hinted at with the previous three and this act's opening to new territory. Very detailed, and combining both ferocious drum'n'bass moments with delicate and touching melodies, “Things Gone Wrong” caresses, kicks and impresses as Detritus's most crafted. A treat for the fan, and an excellent snapshot of what this act is about for the newcomers.

von magnet dreams of the existence of other possible paths; thin and minute. those tightrope walking paths almost invisible. bouncing in between two perils, two poles, above empires, across frames, which can slip through the breaches of any walls. that is the story of this album. when rage is accompanied by tears. this album is our reaction facing the brutal reality of our world today. a world under pressure where all is put into opposition, where everything would like to divide us and where we are being arbitrarily dictated the absolute necessity of a choice. but with "ni prédateur ni proie" (neither predator nor prey) we will not choose our side. - there between partial / impartial, north / south, subjective / objective, orient / occident, coward / hero, poor / rich, indifferent / partisan ... we will remain bare handed, like astonished and turbulent children dancing on a mine field. we will just stare at you, we will fall into rage and boil into tears. within this emotional turmoil, flore magnet and the turkish actress esra bezen bilgin replace women where they are never welcome. women of multiplicity, violence, engagement and resistance. phil von gives way to the voices of the rom kids of mostar and the jewish and palestinian actors from amos gitai and hany abu-assad movies. - at their side, def sharpens his analogue bass lines and darkens atmospherical ambiances which often feel like "war". scattered explosions, shots, crackles, complaints or laments. only our guest, kurdish sufi musician mŸbin dunen softens the crawling tension. his ney bringing our clamour down to a silent light thread. now von magnet signs a harsh, raw, urgent and poetical piece, mixed and produced flawlessly by master norscq. another dary fusion which binds classical music flavours with oriental rhythms, tribal percussions within neo industrial electronic soundscapes. here orient is not any more sensual and phantasmagoric, it is rigid and almost cold. here occident is no more sparkling and victorious, it is sad and decadent. nevertheless "neither predator nor prey" is the length of rope which suddenly ties them up, confronting our hearts to dive close to the abyss.

tonikom started as tonik in 2002, releasing several now-deleted cd-rs and changed the name to tonikom in 2006, documented in the album title 'tonikom killed tonik'. after two self-released albums, 'epoch' sees. the light of day on hymen records - some kind of a logical conclusion; besides the aphex twin, meat beat manifesto, underworld, the orb and leftfield she also names hymen records' artist beefcake as one of her. influences.'epoch' is an enthralling mixture: the melodic richness of idm meet straight d'n'b/breakbeat rhythms, electronic and acoustic instrumentation is enriched with well-placed sampling, sequenced patterns keep embedded ambient soundscapes together, supplemented by power and intensity known from other electronic sub-genres. a diversified, innovating, truly epoch-making release.

packaging: deluxe 6-panel digipak. design by christopher hewitt after finishing the well received 'night falls', ben lukas boysen's ambition for the next album was to be a desideratum's compliance: the improvement of hecq's sound, and moving forward into something boysen defines as an 'emotional destillate'. the tracks 'typhon' and 'steeltongued', written in 2007 and 2008, provide the blueprint for this cd. working as a sound designer for various companies, he presented earlier versions of the tracks and was met with success. these tracks show a non-confined structure but also including a sort of leitmotif and so these titles are perfectly suited for this ambition. in addition they work as a basis for collaborations and remixes.the hypnos trilogy (tracks 10 to 12) is hecq's dedication to the state of stasis. in his own words, 'distant fires' describes a gaze which travels into a distance uncertain; 'lost for words' leads the listener into a state of cogitation - while 'hypnos' allegorizes a slowly constitutive wall of suspense that trickles away in the end... a masterpiece of dark symphonic ambiance, intended for continuous, repeated intense listening.

after attracting attention with two cd-r releases, tonikom was signed by hymen records; epoch was the first result. two years later, the sniper's veil displays this artist's evolution and improvement.'temporarius delerium' invites the listener in with angelic voices, mighty bass pulses and a looped chant, just before a pounding breakbeat takes over and calls the shots for the album. pushing technoid textures carry beautiful electronica themes, sampled field recordings add a cinematic ambiance to the diversified, straight rhythmic foundation covering a range of downtempo, trip hop, breakbeat and fast chthonian four-to-the-floor cadences. with the atmospheric 'look but never touch' the album comes full circle - to start all over again...

the dangerous class is the new album by end. five years in the making, it is 17 tracks of audio madness bound together by themes of sex, drugs, and rebellion. a wild mix of live instrumentation, programmed electronics, and collaged sample fragments, the dangerous class is the soundtrack to a world of wayward youth given to deviance, chemical transcendence and violent transgression.

Experimental meeting inna Space melt. Whatever. It sounds good an melodious. Like it. Drosstik keeps on beeing surprising and free of any formatage.

This is not only unformated. It is also cult objet. Reprise from a dadaist italian musician from the 20's.Played at nowadays Dadaism saucage. BUT, the music is melodious. Rhythemtic and pure beaty. Efficient on the dancefloor for some crazy Djs V5.9... And also this comes as 2 volumes. Like in the old days. A Must have for all real music lovaz' !!!

Larsens and Acids, Noisy electro... Headackes Ambientless... Planet Mu in the dark.