Bleep

The absolute crowning glory of Jan Jelinek's highly valued discography Loop-Finding-Jazz-Records finally made available again on vinyl on Jelinek's highly valued Faitiche records. Coming back around for the first time in sixteen years, this new edition included two bonus archival cuts (B-sides from the Tendency EP, 2000).

When it was originally released back in 2001 on Pole's now defunct ~scape imprint Loop-Finding-Jazz-Records stood out instantly amongst the dust covered sea of clicks and cuts microhouse and mnml that was such a staple of many people's listening back in the early '00s. What instantly stood Jan Jelinek's album out from the crowd was that his take on the sound offered a viewpoint that the further in you gazed, the more of the album's incredibly intricate details and countless endlessly looping layers begin to crumble and fall apart as they hit the speakers.

Revisiting this new edition of Faitiche so long since it first entered our lives, what really strikes us is how much the key crowning glory of Loop-Finding-Jazz-Records genius lies in the inventiveness of Jelinek's production techniques, taking second long samples from '60s and '70s jazz records, processing them through his loop finding modulation wheel and leaving the audio to gather dust with the Moiré-effect. While the source material is lifted from Jelinek's extensive research into jazz, the record sort of reflects a sort of cross-pollination between Basic Channel's Radiance and the stripped back garage axis that was central to the early SND records, released around the same time.

For those of you who often takes journeys deep in the forest inhabited by GAS or burn the candle at both ends to the sleep deprived sounds of Huerco S. and Actress or even anyone trapped in the harrowing maze that makes up the dissolving mind of The Caretaker, then you will find much to love within Loop-Finding-Jazz-Records. While it is so close to a specific time within techno, it's a truly telling of the album's longevity that almost two decades since its original release, those who have captured by its hazy grasp still talk about it in the most complimentary light.

A visionary record that spawned hundreds of imitators, yet nothing quite ever comes close to the near perfected totally techno loops sculpted by Jan Jelinek across the album's original eight tracks.

Amazing dubbed out classic techno, works on all levels

RVNG Intl continue to unearth past gems with this retrospective look at the work of Seattle ambient pioneer K. Leimer. Leimer released a series of albums on his own Palace of Lights label in the late 70s and early 80s, but RVNG are using this compilation as a means to explore his lesser known work, chosen from his own archive. This 30-track compilation is a weighty look at his compositions across that period, and takes in a full spectrum of styles, from fizzing modulations and delicate piano sketches to pop and funk-flavoured workouts. This is a fascinating look at an underrated visionary.

B12 the label is back. Remastered and recut incredibly beautifully for your listening pleasure, Five absolutely top quality tracks Practopia, Solitude, Ecliptic, New Age, Deluge. This EP was never really released except for some dodgy bootlegs, these are official recordings cut pristinely and etched and engraved.

All the copies are etched with messages Beautifully crafted intricate techno of the highest quality.

Based on the fabled British science fiction series ‘The Tomorrow People’, Robert Aiki Aubrey Lowe reveals another facet to his ever shifting musical career. ‘Timon Irnok Manta’ follows a mantra-like opening, pitting tumbling electrified rhythms against slowly modulating analogue patterns in a stripped-back skeletal fashion. A dub ‘version’ follows, blessed with Lowe’s eerie vocals and chilling echoes and tape hiss.

This has literally flown off the physical shelves the world over so act fast, the digital issue is now upon us... German producer Kassem Mosse is fast becoming one of the most important names in house/techno.. this Workshop twelve proves why... and then some. There is a bizarre, disorientating feel to Mosse's work, it's only for the good. Malfunctioning 4/4 with a pure dancefloor heart, beating at some sickly jack' tempo.