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Here on his Thermionic EP Terrace sings out with such intensity that minds are blown. Listen to the brutal, exhilarating sequences of Territorial, which leads the new EP, and you will receive that message loud and clear. While the music is as much about the consequence of soulful depth, it is also about edgy machines communicating intimately. Delving into a more insightful breakdown of the artist’s genius process you can also hear how sweet chords fuse and then contrast with grainy Acidic sonics, leaving the tempo poised at an irresistible pace like all our futures depended on it. Complex yet not overly complicated there is an emotional directness pitched between the artist and audience that typifies all exceptional music. Such is the case evidently here and now.

As you move next onto the more subtle electro pulse of Thermon, shimmering keys dance around a frame by frame remembrance of robotic disco in the 23rd century. Again, each layer sizzles with the spark of electricity energising the atmospheres while continuously constructing worlds of dangerous discourse, fuelled only by the white-hot energy of the discotheque.

The uplifting brilliance of Woodward follows filling the void with an explosion of colour that is all about life-affirming instrumentation, hitting you fast and loose with a cascade of arpeggios, tough drums plus an incendiary surge of melodic distraction causing the airwaves to crackle with celebration.

Completing this stunning release from Terrace are the fierce, hotwired grooves forged by Ritual, conjuring up endless combinations of an analogue model rediscovered. The sheer dancefloor animation found within each of Terrace’s productions on this EP purposefully point to and enhance Cyphon Recordings own mission to explore, propelling the emphasis forever forwards.

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‘2023’ is the rather unexpected new project of the Dutch cult hero Wladimir Manshanden. 32 years ago, in 1991, Wladimir M founded together with techno icon Stefan Robbers, one of the first Dutch techno labels: Eevo Lute Muzique.

While Robbers (as Terrace and Acid Junkies) pursued an international techno career in the years that followed, Manshanden preferred to remain in the shadows. His discography is as small as it is peculiar. But his track ‘Evil’ is an undisputed classic, back in the days, picked up and licensed by the likes of Carl Craig’s Planet E and Dimitri’s infamous Static Tracks Volume 1 mix, while the re-issue a few years ago was picked up again by Nina Kraviz and others.

For that reason alone, ‘2023’ is special. But it gets even better. And weirder. On his collaborative, music is produced by either Stefan Robbers or Bjorn Telkamp, new project, he disassembles the eighties pop hits of his youth into sober, futuristic spoken-word techno.

On the one hand, he does not shy away from some cringe (Dire Straits, Simple Minds, Tina Turner). On the other, he pays tribute to some genuine electronic heroes like Kraftwerk, New Order and (low and behold) Master C&J.

The path to the bare essentials leads through a futuristic labyrinth. Along the way, you get hints of monotone voices, cipher codes and wondrous Dutch titles like ‘Privé Onderzoek.’ The outcome is alienating and magical at the same time.

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The post Florence – The Vineyard – Convextion and Peter Ford Remixes appeared first on Eevo Lute Music & Technology.

Delsin turns its attention to the archives of one of the great early pioneers of Dutch techno – Eevo Lute Muzique. The label was founded in 1991 by Wladimir Manshanden and Stefan Robbers (who was already recording seminal early techno records as Terrace for Djax-Up-Beats). Channeling the inspiration of the Detroit originators and mixing it up with their own synth pop and new wave influences, Manshanden and Robbers (adopting the Florence alias) forged a bold aesthetic with Eevo Lute, both musically and visually. This was an early iteration of techno as listening music, with an emphasis on expression and narrative over dancefloor functionality, helped in no small part by Manshanden’s striking poetry. This double set of remastered, reissued tracks gathers together the earliest Florence and Wladimir M. material, largely recorded between 1991 and 1994, across five discs – the definitive document of a treasured piece of Dutch techno history.

Comes with inlay and liner notes by Oliver Warwick.

The post Florence – Analogue Expressions appeared first on Eevo Lute Music & Technology.

Second part of the Delsin x Eevo Lute Muzique retrospective with a collection of tracks by Wladimir M.

Delsin turns its attention to the archives of one of the great early pioneers of Dutch techno – Eevo Lute Muzique. The label was founded in 1991 by Wladimir Manshanden and Stefan Robbers (who was already recording seminal early techno records as Terrace for Djax-Up-Beats). Channeling the inspiration of the Detroit originators and mixing it up with their own synth pop and new wave influences, Manshanden and Robbers (adopting the Florence alias) forged a bold aesthetic with Eevo Lute, both musically and visually. This was an early iteration of techno as listening music, with an emphasis on expression and narrative over dancefloor functionality, helped in no small part by Manshanden’s striking poetry. This double set of remastered, reissued tracks gathers together the earliest Florence and Wladimir M. material, largely recorded between 1991 and 1994, across five discs – the definitive document of a treasured piece of Dutch techno history.

The post Wladimir M. – Leaves Fallin’ Recklessly appeared first on Eevo Lute Music & Technology.