Various
Southside Records 003

Sharing our works in progress, Balgi seamlessly integrated his skills, igniting the creation of "Beginning of the Path," our debut track on the EP. But the creative momentum didn't cease. Riding the wave, Balgi improvised, capturing those serene moments amidst the chaos, shaping "Adventure Awaits" and "Quiet Steps." As Juan (aka Balgi) prepared to depart for his train, Pau and I were still brimming with creativity and determination. In a burst of inspiration, we penned the final tune for the EP, "Landing Spot." Sending it to Juan while he was on the train, he responded with the perfect vocals, completing the EP with finesse—a perfect procedure for an interstellar landing. "Everybody, put your mask on," we added to the description, symbolizing the journey's adventurous spirit. Fueled by a profound musical connection and a shared vision, our EP has taken shape. Each track is a testament to our collective passion and the synergy between us. Join us as we embark on this sonic journey, inviting you to immerse yourself in our world of sound.

Marking one year following Phase Fatale’s (aka Hayden Payne’s) last EP on his label BITE, ‘Love Is Destructive’ is a clear shift into true techno territories, integrated with his distinct curation of narrative and sonic framework, imprinted with a musical diet of sleek, synthesised storytelling.The 4-Track EP reflects the turbulent ebb-and-flow found with emotional conclusion - a genesis soundtracked by raw energy and driving undercurrents. The Berlin-based DJ, Producer and Label-owner’s propensity for creating a symbiotic harmony by blending seemingly divisive elements from his genre defying repertoire, demonstrates his masterful understanding and control of the listener’s borderless, auditory journey. Exemplified by his marathon closing sets at Berghain, as well as techno arenas such as Khidi in Tbilisi (both of which he is a resident), Phase Fatale’s recent DJ performances and production endeavours reflect his fresh approach to pure techno sensibilities. The title track sets the tone with imperative grooves, energetic vigour and intrepid attitude. Following a progression of techno propulsion in ‘Magma Driver’, infused metallic textures and trippy, headier elements add depth, whilst the body of work’s cutting edge sound design echoes spacey vivacity and purification in equal measures. Dichotomy comes forward with tracks ‘Ambivalence’ and ‘Introjection’, processed vocal samples with dub techno leanings and hints towards broken rhythms are sculpted by Payne’s focused approach, resonating a feeling of hopeful resolution akin to resurgence. These romantic sensibilities offset by cold mechanical nuances are reflected in the EP’s artwork, depicting roses against the backdrop of engine-like machinery. ‘Love Is Destructive’ is dedicated to Juan, Simone and Luis. Featuring artwork by Silent Editions.

We are pleased to present the new Hypnohouse release! Troy VS, originally from Odessa and now exploring Berlin's vibrant soundscape, brings an EP inspired by the echoes of his native PORT club and memories of his coastal hometown. Dive into the lush mix of buzzing leads, otherworldly pads, and a steady kick that takes your mind on a cosmic journey.

When a story sees its own ending. ATOMS shows the Hamburg grown friends and instrumentalists taking a steep descent into the unmarked. Crushed arpeggios, hand layered drums and the afterthought of a nightly piano allude to an early dawn still at midnight. All six tracks are ultimately cast towards loss, since Charly Schöppner, the trio's rhythmic enigma, passed before the record was finished in 2023. But they do this unwillingly, each alone, and they materialise the persistence of beauty in different shapes and thoughts left behind. All happened through an uplift of time in a simple space, as the record was made in Schöppner's garrage, being the trio's artistic refuge at that time. A friend taking you close. – Konstantin BessonovOccasionally miscellaneous worlds collide gently. Instead of intimidating each other, they choose tactful ways to locate their consent. When they know each other for a long time, they might even harmonize their heartbeat, assuming the blood pressure stays discrete. ATOMS, a 2017 produced, unreleased album of the Hamburg based trio Giraffe, is such a clash of different worlds, ideas, emotions, who get charmingly synchronized in an insightful conversation between new music, improvisation, electro, minimal, Krautrock robotics, and the avant-garde spheres of pop. It marks a posthumous longplayer, finished by Sascha Demand (guitar), and Jürgen Hall (keys) after Charly Schöppner’s (percussion) passing in 2020. Nine five to nine minutes long gut-driven improvised compositions. Dark, diverse, haunting, and yet so private talks between three well known to each other individuals. Together they provide a ghostly, somber, dodgy passage, in which virtual analog Nord Drum beats rattle spectral with the acoustic percussion of the frame drum, one of the most ancient musical instruments. They dance with an icy 1980ees touch around minimal shifts and transformations of synth-lines, prepared guitar tones, and drunken keyboard sounds. Harmonically changing shades and slowly transforming rhythm patterns, that explicitly refer to Charly Schöppner’s electro-pop past in bands like Boytronic, just to place the reference into a new setting. A distinctive mélange of improvisation and serialism, in which center the conceptual goes in circles with a free sound searching mode, just to convert the receiver into an active immersive entity drowning in their haunting reverberations. If nothing exists except atoms and empty space; the Giraffe ATOMS séance offers a walk into a room of molecules, that enchants the space with subtle sound variations, creating seemingly endless immortal energy channels. – Michel LeuffenATOMS unterscheidet sich von allen übrigen Giraffe Releases. Bei ATOMS zeigt sich, dass in unserem Trio drei diverse Kontexte aufeinander treffen und zusammen kommen: Improvisation und neue Musik, Elektro und Minimal, Krautrock und Avantgarde Pop. Charly spielte hier ausnahmsweise mehr norddrum und Sampler als Framedrum und akustische Percussion. Das gibt den Aufnahmen eine andere Handschrift, einen gewissen 80er-Touch. Insgesamt haben die Stücke etwas Geisterhaftes und Düsteres, Zwielichtiges. Alle anderen Releases sind heller und lichter. Bei den Stücken geht es in den Einzelstimmen wie im Ganzen um minimale Verschiebungen und Transformationen von Sound zu Sound, um harmonisch wechselnde Schattierungen und um sich langsam wandelnde rhythmische Patterns. Ganz explizit wollte Charly hier auf seine Elektro-Pop Vergangenheit rekurrieren, aber sie vor allem in einen neuen Zusammenhang stellen. Wir alle drei haben immer das Übergreifende in der Musik gesucht und begrüßt. Charly mochte sowohl das Grobe wie das Feine. Dabei war es unser Wunsch, gewisse Muster zu überschreiten oder wenigstens zu konfrontieren. – Sascha DemandListening to these recordings, two years after our last concert with Charly, opens up many memories and emotions inside of me. We conceived ATOMS as a template or blueprint for our live shows. We needed something reduced to build on, yet rich and inspiring, to provide space for live improvisation. It's exciting to listen to it today. We "rehearsed" this set of pieces many times together with Charly. It was always a different musical experience. I noted down only a couple of tones and filter movements for each track. Sometimes it's just a single key i hold on one of the synths, sinking into the textures. Playing with the atoms felt like taking a deep breath and going on a diving trip, immersing into an underwater world and coming back to the surface again after an hour or so. It was the garage, a unique place with its own messy logic, where we composed, played, rehearsed, and hung out on a regular basis. It was a world of its own and it meant a lot to me to commit to Giraffe. My daughter was born when our first release came out. I see ourselves in the garage at night, playing ATOMS, discovering musical worlds together, being aware that we are creating something unique. Three old men, three daddys, each one of us being on the music scene for decades, creating something that has never been created before. Three men that could possibly allow themselves to dedicate to their family or gardening, but still hungry for recognition, still on a mission, still feeling safe and self-conscious in the creation process, still wanting to share something that comes out naturally. Maybe for me, it is the most honest and deepest musical statement I've produced so far, as there were no limits, no expectations, no judgments at all. – Jürgen Hall

Sushitech is back with another of its sublime vinyl-only projects and this one focuses on the work of Dexter. There will be three 12"s in all that draw together some of the producer's finest moments. He is a truly cult figure amongst those who know and he served up a fresh take on tech, acid, dub and house between 1997 and 2004 when these tracks were first made - if you can find any of those original records prepare to pay loads for them, or else dive into Past Moves I. It has a brace of slick, tightly programmed cuts underpinned by rolling pads with lovely lo-fi pads up top. Heady stuff.

We're excited to unveil our inaugural vinyl release, introducing the first Neptune ‘Disc’ to the world. Trance-inducing progressive genres, which dive into the magnetic allure of '90s progressive sounds with a distinct tilt towards the club scene. Four tracks resonating through the depths of a festival ambiance, enveloped in an enigmatic mist and bathed under shimmering purple strobes.A1 introduces Cybernet, an emerging force hailing from the vibrant scene of Aus. Delving beyond the sounds of the '90s Cybernet brings forth a distinctive sonic narrative, intertwining intricate vocal hooks before unleashing the pulsating acid-line. An instant classic unfolds, resonating with the essence of the dance-floor.Glen S swiftly becomes a Neptune Disc regular with "Uh!" on A2. Tailored for the club, he infuses his signature alien scattered pulses and a rolling bassline. With a deft touch, he creates a surge of energy by cutting off all elements on the drop, leaving only the bass and kicks. Expertly crafted.Aiden's "Fanks" on the B-side boasts a mesmerising appeal, again reminiscent of the 90s-2000s era, with its pulsating bassline and entrancing soundscape. It delves into the realm of trance, offering a hypnotic journey that echoes the allure of that bygone era. With its captivating blend of trippy elements, the track creates a nostalgic yet timeless vortex of sound, drawing listeners into an otherworldly experience that resonates with the spirit of classic electronic music.B2 showcases Tourman's prowess as a versatile producer, seamlessly delving into different genres. Overflowing with progressive energy and adorned with scattered UFO sounds, this track stands as a testament to Tourman's evolving artistry—a dynamic force ready to command diverse sonic landscapes. An ideal opener for peak-time set.