#cfpremiere — Public Fediverse posts

CF Signals: Monotone – With U [tentapes]

The deconstruction of the contemporary club finds a field of absolute subversion within the hybridization of artistic identities. Monotone is the live electronic music project formed by Francesco Presotto and Kimi Recor—artists with extensive backgrounds under their monikers Ex.Hale and DRÆMINGS across imprints like Sonic Groove, Voidance, or Sumerian Records—whose proposal geographically oscillates between Venice and La Coruña. Joining forces, the duo deconstructs common compositional standards to erect a vision characterized by dark textures, atmospheric weight, and a distinctive ability to provoke a feeling of artistic and textural asphyxiation within the listener.

For the sixth release in the tentapes catalog, we welcome Monotone with Fictional Science, an immersive experience composed of four deeply emotional pieces blending field recordings and powerful low-end. The closing point and peak acceleration of this sonic universe concentrates on With U. The cut completes the release’s emotional circle in a definitive fashion, driving a continuous high energy from the start that drifts between the idyllic and the ineffable.

https://soundcloud.com/clubfuriess/cfs-monotone-with-u-tentapes

The track’s architecture manages tension with analog mastery, reaching sonic deltas that dip straight into silence—structural containment voids suspending the room’s breath—before forcefully reclaiming the flight previously undertaken. Altogether, it solidifies as one of the week’s most refined works, where sound design and physical force advance in flawless harmony.

Towards the denouement, the composition avoids complacent solutions; the structure interrupts its rhythmic drive abruptly mid-sonic effervescence, leaving the synths’ echo and emotion floating like an unfinished interference in the dark. With Fictional Science, Monotone and tentapes sign a sharp editorial stance: a manifesto proving that avant-garde live electronic music reaffirms itself when capable of jarring both the body and the psyche.

Label: tentapes
Artist: Monotone
Title: Fictional Science
Catalogue: TNTPS006
W&P Ana Artalejo Moreno & Francesco Presotto
Master Ravi Raisa

Release Date: July 23, 2026
Support & Buy: Bandcamp

Tracklist
1. Deep Forest Dream
2. Endless
3. Fictional Science
4. With U

Monotone

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tentapes

SoundCloud | Instagram | Bandcamp | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Monotone – With U [tentapes]

The deconstruction of the contemporary club finds a field of absolute subversion within the hybridization of artistic identities. Monotone is the live electronic music project formed by Francesco Presotto and Kimi Recor—artists with extensive backgrounds under their monikers Ex.Hale and DRÆMINGS across imprints like Sonic Groove, Voidance, or Sumerian Records—whose proposal geographically oscillates between Venice and La Coruña. Joining forces, the duo deconstructs common compositional standards to erect a vision characterized by dark textures, atmospheric weight, and a distinctive ability to provoke a feeling of artistic and textural asphyxiation within the listener.

For the sixth release in the tentapes catalog, we welcome Monotone with Fictional Science, an immersive experience composed of four deeply emotional pieces blending field recordings and powerful low-end. The closing point and peak acceleration of this sonic universe concentrates on With U. The cut completes the release’s emotional circle in a definitive fashion, driving a continuous high energy from the start that drifts between the idyllic and the ineffable.

https://soundcloud.com/clubfuriess/cfs-monotone-with-u-tentapes

The track’s architecture manages tension with analog mastery, reaching sonic deltas that dip straight into silence—structural containment voids suspending the room’s breath—before forcefully reclaiming the flight previously undertaken. Altogether, it solidifies as one of the week’s most refined works, where sound design and physical force advance in flawless harmony.

Towards the denouement, the composition avoids complacent solutions; the structure interrupts its rhythmic drive abruptly mid-sonic effervescence, leaving the synths’ echo and emotion floating like an unfinished interference in the dark. With Fictional Science, Monotone and tentapes sign a sharp editorial stance: a manifesto proving that avant-garde live electronic music reaffirms itself when capable of jarring both the body and the psyche.

Label: tentapes
Artist: Monotone
Title: Fictional Science
Catalogue: TNTPS006
W&P Ana Artalejo Moreno & Francesco Presotto
Master Ravi Raisa

Release Date: July 23, 2026
Support & Buy: Bandcamp

Tracklist
1. Deep Forest Dream
2. Endless
3. Fictional Science
4. With U

Monotone

SoundCloud | Instagram | Linktree

tentapes

SoundCloud | Instagram | Bandcamp | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: cat can do – Avant [Diffuse Reality Records]

The mysticism of the nocturnal floor transforms under the skin of a feline mutating with the shadows. Our favorite cat, cat can do—who regularly turns into a wolf by night under his Only Wolf moniker—returns to our pages to reinforce his tight-knit bond with the unwavering Spanish platform Diffuse Reality Records. Following multiple acclaimed references on the label, the Canadian-born, Alicante-based producer unveils Avant, a four-track collection of original cuts evading conventional molds to delve into the territories of a hybrid, cult techno.

https://clubfuries.com.mx/2026/05/28/cfmx-cf-present-cat-can-do/

The core synthesis of this release manifests mysteriously on the title track, Avant. The piece sparks with reticent sounds that approach patiently, as if originating from other times and unexplored dimensions. Far from monolithic industrial rigidity, the cut boasts the characteristic subtlety and self-assurance of the producer’s sound design, weaving a dense, liquid texture where physical friction coexists with a profound spatial elegance.

https://soundcloud.com/clubfuriess/cfs-cat-can-do-avant-drss1477

The composition’s narrative warps the club’s temporality. Climaxes arrive with surgical delicacy, briefly arresting time and space within a structural containment void; it is there that latent howls emerge, rapidly transmuting into acid drops and synthetic bulbs that re-ignite everything within the Alicante cat’s sonic and visual universe, reactivating the groove with an unyielding, expansive movement.

https://clubfuries.com.mx/2025/08/18/cfr-2025-11-cat-can-do-presents-emotional-apres-at-diffuse-reality/

Towards the denouement, the sonic architecture shuns the complacency of a gentle descent or a functional summary. The drive simply cuts off mid-analog tension, leaving the acid frequencies vibrating in mid-air like an unfinished interference in the dark. With Avant, cat can do and Diffuse Reality sign a sharp editorial stance against today’s underground scene: they prove that avant-garde techno solidifies when hardware precision surrenders to the animalistic, unpredictable nature of the night.

Artist: cat can do
Title: Avant
Format: Digital
Label: Diffuse Reality Records
Catalogue: DRSS1477

Release Date: July 20, 2026
Support & Buy: Bandcamp

Tracklist
1. Avant
2. Tragic
3. Brothers
4. 2004

cat can do

SoundCloud | Instagram | Facebook

Diffuse Reality Records

Website | SoundCloud | Instagram | Facebook | Twitter | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: cat can do – Avant [Diffuse Reality Records]

The mysticism of the nocturnal floor transforms under the skin of a feline mutating with the shadows. Our favorite cat, cat can do—who regularly turns into a wolf by night under his Only Wolf moniker—returns to our pages to reinforce his tight-knit bond with the unwavering Spanish platform Diffuse Reality Records. Following multiple acclaimed references on the label, the Canadian-born, Alicante-based producer unveils Avant, a four-track collection of original cuts evading conventional molds to delve into the territories of a hybrid, cult techno.

https://clubfuries.com.mx/2026/05/28/cfmx-cf-present-cat-can-do/

The core synthesis of this release manifests mysteriously on the title track, Avant. The piece sparks with reticent sounds that approach patiently, as if originating from other times and unexplored dimensions. Far from monolithic industrial rigidity, the cut boasts the characteristic subtlety and self-assurance of the producer’s sound design, weaving a dense, liquid texture where physical friction coexists with a profound spatial elegance.

https://soundcloud.com/clubfuriess/cfs-cat-can-do-avant-drss1477

The composition’s narrative warps the club’s temporality. Climaxes arrive with surgical delicacy, briefly arresting time and space within a structural containment void; it is there that latent howls emerge, rapidly transmuting into acid drops and synthetic bulbs that re-ignite everything within the Alicante cat’s sonic and visual universe, reactivating the groove with an unyielding, expansive movement.

https://clubfuries.com.mx/2025/08/18/cfr-2025-11-cat-can-do-presents-emotional-apres-at-diffuse-reality/

Towards the denouement, the sonic architecture shuns the complacency of a gentle descent or a functional summary. The drive simply cuts off mid-analog tension, leaving the acid frequencies vibrating in mid-air like an unfinished interference in the dark. With Avant, cat can do and Diffuse Reality sign a sharp editorial stance against today’s underground scene: they prove that avant-garde techno solidifies when hardware precision surrenders to the animalistic, unpredictable nature of the night.

Artist: cat can do
Title: Avant
Format: Digital
Label: Diffuse Reality Records
Catalogue: DRSS1477

Release Date: July 20, 2026
Support & Buy: Bandcamp

Tracklist
1. Avant
2. Tragic
3. Brothers
4. 2004

cat can do

SoundCloud | Instagram | Facebook

Diffuse Reality Records

Website | SoundCloud | Instagram | Facebook | Twitter | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: cat can do – Avant [Diffuse Reality Records]

The mysticism of the nocturnal floor transforms under the skin of a feline mutating with the shadows. Our favorite cat, cat can do—who regularly turns into a wolf by night under his Only Wolf moniker—returns to our pages to reinforce his tight-knit bond with the unwavering Spanish platform Diffuse Reality Records. Following multiple acclaimed references on the label, the Canadian-born, Alicante-based producer unveils Avant, a four-track collection of original cuts evading conventional molds to delve into the territories of a hybrid, cult techno.

https://clubfuries.com.mx/2026/05/28/cfmx-cf-present-cat-can-do/

The core synthesis of this release manifests mysteriously on the title track, Avant. The piece sparks with reticent sounds that approach patiently, as if originating from other times and unexplored dimensions. Far from monolithic industrial rigidity, the cut boasts the characteristic subtlety and self-assurance of the producer’s sound design, weaving a dense, liquid texture where physical friction coexists with a profound spatial elegance.

https://soundcloud.com/clubfuriess/cfs-cat-can-do-avant-drss1477

The composition’s narrative warps the club’s temporality. Climaxes arrive with surgical delicacy, briefly arresting time and space within a structural containment void; it is there that latent howls emerge, rapidly transmuting into acid drops and synthetic bulbs that re-ignite everything within the Alicante cat’s sonic and visual universe, reactivating the groove with an unyielding, expansive movement.

https://clubfuries.com.mx/2025/08/18/cfr-2025-11-cat-can-do-presents-emotional-apres-at-diffuse-reality/

Towards the denouement, the sonic architecture shuns the complacency of a gentle descent or a functional summary. The drive simply cuts off mid-analog tension, leaving the acid frequencies vibrating in mid-air like an unfinished interference in the dark. With Avant, cat can do and Diffuse Reality sign a sharp editorial stance against today’s underground scene: they prove that avant-garde techno solidifies when hardware precision surrenders to the animalistic, unpredictable nature of the night.

Artist: cat can do
Title: Avant
Format: Digital
Label: Diffuse Reality Records
Catalogue: DRSS1477

Release Date: July 20, 2026
Support & Buy: Bandcamp

Tracklist
1. Avant
2. Tragic
3. Brothers
4. 2004

cat can do

SoundCloud | Instagram | Facebook

Diffuse Reality Records

Website | SoundCloud | Instagram | Facebook | Twitter | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: cat can do – Avant [Diffuse Reality Records]

The mysticism of the nocturnal floor transforms under the skin of a feline mutating with the shadows. Our favorite cat, cat can do—who regularly turns into a wolf by night under his Only Wolf moniker—returns to our pages to reinforce his tight-knit bond with the unwavering Spanish platform Diffuse Reality Records. Following multiple acclaimed references on the label, the Canadian-born, Alicante-based producer unveils Avant, a four-track collection of original cuts evading conventional molds to delve into the territories of a hybrid, cult techno.

https://clubfuries.com.mx/2026/05/28/cfmx-cf-present-cat-can-do/

The core synthesis of this release manifests mysteriously on the title track, Avant. The piece sparks with reticent sounds that approach patiently, as if originating from other times and unexplored dimensions. Far from monolithic industrial rigidity, the cut boasts the characteristic subtlety and self-assurance of the producer’s sound design, weaving a dense, liquid texture where physical friction coexists with a profound spatial elegance.

https://soundcloud.com/clubfuriess/cfs-cat-can-do-avant-drss1477

The composition’s narrative warps the club’s temporality. Climaxes arrive with surgical delicacy, briefly arresting time and space within a structural containment void; it is there that latent howls emerge, rapidly transmuting into acid drops and synthetic bulbs that re-ignite everything within the Alicante cat’s sonic and visual universe, reactivating the groove with an unyielding, expansive movement.

https://clubfuries.com.mx/2025/08/18/cfr-2025-11-cat-can-do-presents-emotional-apres-at-diffuse-reality/

Towards the denouement, the sonic architecture shuns the complacency of a gentle descent or a functional summary. The drive simply cuts off mid-analog tension, leaving the acid frequencies vibrating in mid-air like an unfinished interference in the dark. With Avant, cat can do and Diffuse Reality sign a sharp editorial stance against today’s underground scene: they prove that avant-garde techno solidifies when hardware precision surrenders to the animalistic, unpredictable nature of the night.

Artist: cat can do
Title: Avant
Format: Digital
Label: Diffuse Reality Records
Catalogue: DRSS1477

Release Date: July 20, 2026
Support & Buy: Bandcamp

Tracklist
1. Avant
2. Tragic
3. Brothers
4. 2004

cat can do

SoundCloud | Instagram | Facebook

Diffuse Reality Records

Website | SoundCloud | Instagram | Facebook | Twitter | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: cat can do – Avant [Diffuse Reality Records]

The mysticism of the nocturnal floor transforms under the skin of a feline mutating with the shadows. Our favorite cat, cat can do—who regularly turns into a wolf by night under his Only Wolf moniker—returns to our pages to reinforce his tight-knit bond with the unwavering Spanish platform Diffuse Reality Records. Following multiple acclaimed references on the label, the Canadian-born, Alicante-based producer unveils Avant, a four-track collection of original cuts evading conventional molds to delve into the territories of a hybrid, cult techno.

https://clubfuries.com.mx/2026/05/28/cfmx-cf-present-cat-can-do/

The core synthesis of this release manifests mysteriously on the title track, Avant. The piece sparks with reticent sounds that approach patiently, as if originating from other times and unexplored dimensions. Far from monolithic industrial rigidity, the cut boasts the characteristic subtlety and self-assurance of the producer’s sound design, weaving a dense, liquid texture where physical friction coexists with a profound spatial elegance.

https://soundcloud.com/clubfuriess/cfs-cat-can-do-avant-drss1477

The composition’s narrative warps the club’s temporality. Climaxes arrive with surgical delicacy, briefly arresting time and space within a structural containment void; it is there that latent howls emerge, rapidly transmuting into acid drops and synthetic bulbs that re-ignite everything within the Alicante cat’s sonic and visual universe, reactivating the groove with an unyielding, expansive movement.

https://clubfuries.com.mx/2025/08/18/cfr-2025-11-cat-can-do-presents-emotional-apres-at-diffuse-reality/

Towards the denouement, the sonic architecture shuns the complacency of a gentle descent or a functional summary. The drive simply cuts off mid-analog tension, leaving the acid frequencies vibrating in mid-air like an unfinished interference in the dark. With Avant, cat can do and Diffuse Reality sign a sharp editorial stance against today’s underground scene: they prove that avant-garde techno solidifies when hardware precision surrenders to the animalistic, unpredictable nature of the night.

Artist: cat can do
Title: Avant
Format: Digital
Label: Diffuse Reality Records
Catalogue: DRSS1477

Release Date: July 20, 2026
Support & Buy: Bandcamp

Tracklist
1. Avant
2. Tragic
3. Brothers
4. 2004

cat can do

SoundCloud | Instagram | Facebook

Diffuse Reality Records

Website | SoundCloud | Instagram | Facebook | Twitter | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Luis Puga – Tengo la Clave [Behind The Noise]

The Mexican electronic music map decentralizes its focus to find new narratives on the periphery. Based in the State of Mexico, the Behind The Noise imprint and platform consolidates itself as a supportive network open to experimentation without geographic boundaries. For its latest release, the label enlists the talent of Luis Puga, a DJ and producer from Toluca who, since launching his project in 2021, has stood out for his hybrid versatility. On this occasion, he delivers Tengo la Clave, a track where the night pulse of the dancefloor gets contaminated with provocation and unpredictable dynamics.

https://clubfuries.com.mx/2026/06/06/cfs-taff-sanjo-behind-the-noise/

The track waives solemn introductions. Right from the start, its vocals unfold performatively, injecting a dose of energy and Mexican playfulness that twists the rigidity of the genre. Far from remaining on the surface, the piece rapidly spikes into a dark and electric energy, morphing into a dense, liquid, highly synthetic texture that extends as the backbone of the release.

The topography of the composition is rugged—a succession of valleys and ridges that complexify the listening experience through wide and versatile structures. There is no room for monotony: every time the sound threatens to stabilize, the producer introduces a break, achieving a constant destabilization of stabilization that works flawlessly in its physical evolution. Latent synths and expansive movement reanimate the rhythm right at the edge of tension, forcing the body to stay in an uninterrupted state of alert.

https://soundcloud.com/clubfuriess/cfs-luis-puga-tengo-la-clave-behind-the-noise

Towards the close, the sonic architecture seeks neither a summary nor a gentle descent; it cuts off abruptly, leaving electric frequencies vibrating in mid-air like a suspended echo. With Tengo la Clave, Luis Puga and Behind The Noise sign a clear editorial stance on the present local scene: a hybrid techno that understands that today’s dancefloor is conquered by breaking its own rules of symmetry.

Label: Behind The Noise
Artist: Luis Puga
Title: Tengo la Clave
Catalogue:
Genre: Indie Dance

Release Date: July 10, 2026
Support & Buy: Bandcamp

Luis Puga

SoundCloud | Instagram | Threads | | TikTok | Linktree

Behind The Noise

SoundCloud | Instagram | Bandcamp | Beatport | YouTube

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Apigenin – Future Proof [Black Hole Transmissions]

Apigenin is the Berlin-based project formed by Solenoid, a three-decade veteran of the techno scene, and his nephew mmoonn, a musician and visual artist. Their collaboration finds a compelling balance between experience and contemporary sensibility, united by a shared fascination with the hypnotic potential of groove. Two generations converge around a common understanding of techno as a language of repetition, immersion, and perceptual transformation.

https://clubfuries.com.mx/2026/06/07/cfs-apigenin-focused-bht007/

Their second EP for Black Hole Transmissions delves deeper into that territory. Across four compositions, the duo develops a sound rooted in deep textures, functional repetition, and rhythmic structures that favour gradual absorption over immediate impact. Each track explores a different variation of the same principle, the ability of groove to engage both the body and the mind at once.

Future Proof expands upon the atmosphere established by the opening track through enveloping synthesizers and deeply grounded rhythmic patterns. Additional percussive elements introduce movement and spatial depth, while melodic layers evolve patiently toward increasingly immersive states. Every transformation feels purposeful, contributing to a seamless and carefully controlled flow.

https://soundcloud.com/clubfuriess/cfs-apigenin-future-proof-bht007

From the outset, the level of immersion is striking. The sound gradually surrounds the listener, creating a trance-like state that unfolds to its fullest potential throughout the track. The progression remains steady and deliberate, shaping intricate sonic labyrinths that seem to contain both the mystery and the solution within themselves. Time feels folded and stretched, as if different moments of the composition were coexisting inside the same expanding continuum.

With this second release, Apigenin further consolidates a vision centred on the most immersive aspects of contemporary techno. Rather than relying on immediate formulas, the duo builds its language through precision, patience, and gradual evolution. In Future Proof, that approach reaches a particularly evocative form. The future suggested by its title appears neither as promise nor destination, but as an open territory where every structure, rhythm, and perception is continuously tested.

Label: Black Hole Transmissions
Artist: Apigenin
Title: Focussed
Catalogue: BHT007

Release Date: June 26, 2026
Support & Buy: Bandcamp

Tracklist
1. Focused
2. Future Proof
3. Groovin
4. North

Black Hole Transmissions

SoundCloud | Instagram | YouTube | Facebook | Bandcamp | hearthis.at

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Apigenin – Future Proof [Black Hole Transmissions]

Apigenin is the Berlin-based project formed by Solenoid, a three-decade veteran of the techno scene, and his nephew mmoonn, a musician and visual artist. Their collaboration finds a compelling balance between experience and contemporary sensibility, united by a shared fascination with the hypnotic potential of groove. Two generations converge around a common understanding of techno as a language of repetition, immersion, and perceptual transformation.

https://clubfuries.com.mx/2026/06/07/cfs-apigenin-focused-bht007/

Their second EP for Black Hole Transmissions delves deeper into that territory. Across four compositions, the duo develops a sound rooted in deep textures, functional repetition, and rhythmic structures that favour gradual absorption over immediate impact. Each track explores a different variation of the same principle, the ability of groove to engage both the body and the mind at once.

Future Proof expands upon the atmosphere established by the opening track through enveloping synthesizers and deeply grounded rhythmic patterns. Additional percussive elements introduce movement and spatial depth, while melodic layers evolve patiently toward increasingly immersive states. Every transformation feels purposeful, contributing to a seamless and carefully controlled flow.

https://soundcloud.com/clubfuriess/cfs-apigenin-future-proof-bht007

From the outset, the level of immersion is striking. The sound gradually surrounds the listener, creating a trance-like state that unfolds to its fullest potential throughout the track. The progression remains steady and deliberate, shaping intricate sonic labyrinths that seem to contain both the mystery and the solution within themselves. Time feels folded and stretched, as if different moments of the composition were coexisting inside the same expanding continuum.

With this second release, Apigenin further consolidates a vision centred on the most immersive aspects of contemporary techno. Rather than relying on immediate formulas, the duo builds its language through precision, patience, and gradual evolution. In Future Proof, that approach reaches a particularly evocative form. The future suggested by its title appears neither as promise nor destination, but as an open territory where every structure, rhythm, and perception is continuously tested.

Label: Black Hole Transmissions
Artist: Apigenin
Title: Focussed
Catalogue: BHT007

Release Date: June 26, 2026
Support & Buy: Bandcamp

Tracklist
1. Focused
2. Future Proof
3. Groovin
4. North

Black Hole Transmissions

SoundCloud | Instagram | YouTube | Facebook | Bandcamp | hearthis.at

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Krzyzøk – Omen [Arctronic Records]

Polish-Spanish artist, producer, and DJ Krzyzøk, now based in Madrid, makes his debut on one of our favorite labels. His arrival on Arctronic Records comes in the form of Echoes From Warsaw, a four-track EP that dives deep into the more forceful and functional territories of contemporary techno. It is a release that balances immediate energy with a refined sense of structure and control.

Specializing in raw techno and hardgroove, while drawing influence from the classic sounds of the 1990s and early 2000s alongside EBM, new wave, and European synth-driven traditions, Krzyzøk has developed a sound that treats the dancefloor as a space of sustained tension. His productions move through insistent rhythms, carefully measured progressions, and a constant awareness of the physical momentum generated by repetition and groove.

https://clubfuries.com.mx/2026/04/02/cfp-revelation-sequence-hemodynamic-adjustment-arc011/

Throughout Echoes From Warsaw, historical influences are absorbed into a contemporary language that avoids easy nostalgia. The past functions as material rather than destination. Each track establishes its own identity while contributing to the coherence of the whole, creating a narrative where groove, pressure, and depth evolve together.

https://soundcloud.com/clubfuriess/cfs-krzyzok-ome-arc012

Omen stands out as one of the EP’s most compelling moments. From the very beginning, its intensity is undeniable, yet it never relies on brute force to achieve its effect. There is an unexpected softness in the way its elements are assembled. The textures possess a velvety quality that cushions the impact without diminishing its power, generating a persistent sense of propulsion that quickly becomes hypnotic.

Once the track settles into its central momentum, layers begin moving across one another in seemingly different directions, creating friction, tension, and interaction. What makes the piece particularly engaging is that these contrasting movements never dissolve into chaos. Instead, they become part of a larger architecture where separation itself generates cohesion. The result is a state of continuous motion, an elegant and relentless rhythmic machine that keeps attention suspended while advancing with unwavering precision toward increasingly deeper territory.

Label: Arctronic Records
Artist: Krzyzøk
Title: Echoes From Warsaw
Catalogue: ARC012

Release Date: June 26, 2026
Support & Buy: Bandcamp

Credits
Written & produced: Krzyzøk.
Mastered: Endplate.
Artwork: Arcfilter.

Tracklist
1. Echoes From Warsaw
2. Klockform
3. Glittering In The Dark
4. Omen

Krzyzøk

SoundCloud | Instagram | TikTok | YouTube | Linktree

Arctronic Records

SoundCloud | Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Krzyzøk – Omen [Arctronic Records]

Polish-Spanish artist, producer, and DJ Krzyzøk, now based in Madrid, makes his debut on one of our favorite labels. His arrival on Arctronic Records comes in the form of Echoes From Warsaw, a four-track EP that dives deep into the more forceful and functional territories of contemporary techno. It is a release that balances immediate energy with a refined sense of structure and control.

Specializing in raw techno and hardgroove, while drawing influence from the classic sounds of the 1990s and early 2000s alongside EBM, new wave, and European synth-driven traditions, Krzyzøk has developed a sound that treats the dancefloor as a space of sustained tension. His productions move through insistent rhythms, carefully measured progressions, and a constant awareness of the physical momentum generated by repetition and groove.

https://clubfuries.com.mx/2026/04/02/cfp-revelation-sequence-hemodynamic-adjustment-arc011/

Throughout Echoes From Warsaw, historical influences are absorbed into a contemporary language that avoids easy nostalgia. The past functions as material rather than destination. Each track establishes its own identity while contributing to the coherence of the whole, creating a narrative where groove, pressure, and depth evolve together.

https://soundcloud.com/clubfuriess/cfs-krzyzok-ome-arc012

Omen stands out as one of the EP’s most compelling moments. From the very beginning, its intensity is undeniable, yet it never relies on brute force to achieve its effect. There is an unexpected softness in the way its elements are assembled. The textures possess a velvety quality that cushions the impact without diminishing its power, generating a persistent sense of propulsion that quickly becomes hypnotic.

Once the track settles into its central momentum, layers begin moving across one another in seemingly different directions, creating friction, tension, and interaction. What makes the piece particularly engaging is that these contrasting movements never dissolve into chaos. Instead, they become part of a larger architecture where separation itself generates cohesion. The result is a state of continuous motion, an elegant and relentless rhythmic machine that keeps attention suspended while advancing with unwavering precision toward increasingly deeper territory.

Label: Arctronic Records
Artist: Krzyzøk
Title: Echoes From Warsaw
Catalogue: ARC012

Release Date: June 26, 2026
Support & Buy: Bandcamp

Credits
Written & produced: Krzyzøk.
Mastered: Endplate.
Artwork: Arcfilter.

Tracklist
1. Echoes From Warsaw
2. Klockform
3. Glittering In The Dark
4. Omen

Krzyzøk

SoundCloud | Instagram | TikTok | YouTube | Linktree

Arctronic Records

SoundCloud | Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: APPLE-K – Current Blackmail [Ketapasando]

A Beautiful Threat is the latest release from APPLE-K on Ketapasando, a two-track exploration of contemporary jungle at its most intense. Sharp breaks, deep low-end pressure, and shadowy atmospheres form the foundation of a release where rave energy and rhythmic precision exist in perfect balance. Both tracks acknowledge the legacy of classic jungle while pushing its language toward heavier and more contemporary territory.

https://clubfuries.com.mx/2026/02/27/im117-draingin-ktp041/

Based in Magdeburg, APPLE-K has developed a distinctive voice within the world of high-intensity broken rhythms. Emerging from the breakcore scene, his productions merge aggressive break programming with an unusual sensitivity toward atmosphere and emotional depth. Since 2020, he has steadily refined a sound where rave culture, modern electronic intensity, and melodic nuance coexist within a cohesive artistic vision.

https://clubfuries.com.mx/2026/05/05/cfr-2026-05-ketapasando-kebradito-remixes-ju-ju/

Current Blackmail revolves around the unmistakable force of the Amen Break, operating between 166 and 168 BPM while balancing atmospheric depth with physical momentum. The title track moves into darker and more introspective territory, creating a tension that never fully resolves and keeping the listener suspended in a constant state of anticipation.

https://soundcloud.com/clubfuriess/cfs-apple-k-current-blackmail-ktpep044

Ghostly pads, granular textures, and distant resonances shape a landscape saturated with unease. The sonic environment feels vast yet strangely confined, like an abandoned industrial structure where every reflection generates new echoes. Above this foundation, the Amen Breaks cut through the mix with surgical precision, fracturing time into waves of continuous motion.

https://clubfuries.com.mx/2026/04/06/cfp-ju-ju-tomillo-cuidado-con-el-gatito-ktpep042/

The energy never erupts outright; it accumulates. Every measure adds pressure to a system that appears perpetually close to collapse without ever crossing that threshold. This is where Current Blackmail reveals its greatest strength. Its ability to sustain a sense of looming threat while the rhythm advances relentlessly, transforming tension into a hypnotic force that lingers long after the final break has faded.

Label: Ketapasando
Artist: APPLE-K
Title: A Beautiful Threat
Catalogue: KTPEP044

Release Date: June 23, 2026
Support & Buy: Bandcamp

Tracklist
1. Current Blackmail
2. What A Beautiful Life

APPLE-K

SoundCloud | Instagram | Bandcamp

Ketapasando

Website | SoundCloud | Instagram | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: APPLE-K – Current Blackmail [Ketapasando]

A Beautiful Threat is the latest release from APPLE-K on Ketapasando, a two-track exploration of contemporary jungle at its most intense. Sharp breaks, deep low-end pressure, and shadowy atmospheres form the foundation of a release where rave energy and rhythmic precision exist in perfect balance. Both tracks acknowledge the legacy of classic jungle while pushing its language toward heavier and more contemporary territory.

https://clubfuries.com.mx/2026/02/27/im117-draingin-ktp041/

Based in Magdeburg, APPLE-K has developed a distinctive voice within the world of high-intensity broken rhythms. Emerging from the breakcore scene, his productions merge aggressive break programming with an unusual sensitivity toward atmosphere and emotional depth. Since 2020, he has steadily refined a sound where rave culture, modern electronic intensity, and melodic nuance coexist within a cohesive artistic vision.

https://clubfuries.com.mx/2026/05/05/cfr-2026-05-ketapasando-kebradito-remixes-ju-ju/

Current Blackmail revolves around the unmistakable force of the Amen Break, operating between 166 and 168 BPM while balancing atmospheric depth with physical momentum. The title track moves into darker and more introspective territory, creating a tension that never fully resolves and keeping the listener suspended in a constant state of anticipation.

https://soundcloud.com/clubfuriess/cfs-apple-k-current-blackmail-ktpep044

Ghostly pads, granular textures, and distant resonances shape a landscape saturated with unease. The sonic environment feels vast yet strangely confined, like an abandoned industrial structure where every reflection generates new echoes. Above this foundation, the Amen Breaks cut through the mix with surgical precision, fracturing time into waves of continuous motion.

https://clubfuries.com.mx/2026/04/06/cfp-ju-ju-tomillo-cuidado-con-el-gatito-ktpep042/

The energy never erupts outright; it accumulates. Every measure adds pressure to a system that appears perpetually close to collapse without ever crossing that threshold. This is where Current Blackmail reveals its greatest strength. Its ability to sustain a sense of looming threat while the rhythm advances relentlessly, transforming tension into a hypnotic force that lingers long after the final break has faded.

Label: Ketapasando
Artist: APPLE-K
Title: A Beautiful Threat
Catalogue: KTPEP044

Release Date: June 23, 2026
Support & Buy: Bandcamp

Tracklist
1. Current Blackmail
2. What A Beautiful Life

APPLE-K

SoundCloud | Instagram | Bandcamp

Ketapasando

Website | SoundCloud | Instagram | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: APPLE-K – Current Blackmail [Ketapasando]

A Beautiful Threat is the latest release from APPLE-K on Ketapasando, a two-track exploration of contemporary jungle at its most intense. Sharp breaks, deep low-end pressure, and shadowy atmospheres form the foundation of a release where rave energy and rhythmic precision exist in perfect balance. Both tracks acknowledge the legacy of classic jungle while pushing its language toward heavier and more contemporary territory.

https://clubfuries.com.mx/2026/02/27/im117-draingin-ktp041/

Based in Magdeburg, APPLE-K has developed a distinctive voice within the world of high-intensity broken rhythms. Emerging from the breakcore scene, his productions merge aggressive break programming with an unusual sensitivity toward atmosphere and emotional depth. Since 2020, he has steadily refined a sound where rave culture, modern electronic intensity, and melodic nuance coexist within a cohesive artistic vision.

https://clubfuries.com.mx/2026/05/05/cfr-2026-05-ketapasando-kebradito-remixes-ju-ju/

Current Blackmail revolves around the unmistakable force of the Amen Break, operating between 166 and 168 BPM while balancing atmospheric depth with physical momentum. The title track moves into darker and more introspective territory, creating a tension that never fully resolves and keeping the listener suspended in a constant state of anticipation.

https://soundcloud.com/clubfuriess/cfs-apple-k-current-blackmail-ktpep044

Ghostly pads, granular textures, and distant resonances shape a landscape saturated with unease. The sonic environment feels vast yet strangely confined, like an abandoned industrial structure where every reflection generates new echoes. Above this foundation, the Amen Breaks cut through the mix with surgical precision, fracturing time into waves of continuous motion.

https://clubfuries.com.mx/2026/04/06/cfp-ju-ju-tomillo-cuidado-con-el-gatito-ktpep042/

The energy never erupts outright; it accumulates. Every measure adds pressure to a system that appears perpetually close to collapse without ever crossing that threshold. This is where Current Blackmail reveals its greatest strength. Its ability to sustain a sense of looming threat while the rhythm advances relentlessly, transforming tension into a hypnotic force that lingers long after the final break has faded.

Label: Ketapasando
Artist: APPLE-K
Title: A Beautiful Threat
Catalogue: KTPEP044

Release Date: June 23, 2026
Support & Buy: Bandcamp

Tracklist
1. Current Blackmail
2. What A Beautiful Life

APPLE-K

SoundCloud | Instagram | Bandcamp

Ketapasando

Website | SoundCloud | Instagram | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Interview | AMAS & FRITHJOF-MARTIN GRABNER – SRDGN × LPZG: The strictness of Bach, dissolved

Editorial Introduction

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical facade? AMAS and Frithjof-Martin Grabner spent three years finding out.

SRDGN × LPZG is not a reinterpretation. It is a dissection. The duo AMAS — two old friends from southern Germany, one handling production and sound design, the other artistic vision and concept — began the project in the raw isolation of Pula, at the southernmost tip of Sardinia. There, they extracted the rhythmic and tonal skeleton of 14 Bach works and fused them with field recordings of the surrounding landscape, building a hypnotic framework of electronic structures rooted in Minimal, Dub-Techno, and Ambient.

That foundation then traveled to Leipzig, where it met Frithjof-Martin Grabner: solo double bassist, professor at the HMT Leipzig, and one of the most rigorous interpreters of the Baroque tradition in Germany. In an intense session at the historic HMT hall, Grabner improvised freely over the material — not from a score, but from instinct, in the spirit of Miles Davis scoring «Ascenseur pour l’échafaud»: atmosphere over technical perfection. The result blurs the line between analog depth and synthetic texture, between the 18th century and the club.

We spoke with AMAS and with Frithjof-Martin Grabner about the making of a record that is both an act of radical respect and radical transformation.

I. The origin — Sardinia and the idea

01 AMAS & GRABNER

SRDGN × LPZG took three years and two very different geographies to come together. What was the original impulse — what made you decide that Bach was the right starting point for this project?

— A: We didn’t actually think about these specific genres [Ambient and Dub Techno] at the beginning. After our first five releases, which were still very closely oriented toward the rigid structure of classic techno productions, we wanted to break away from this rigid scheme in our next work. The goal was to create tracks that could breathe more freely. We have also always had a great love for Ambient and soundtrack music. Ultimately, we combined both in the 14 tracks: the free approach all the way to tracks in a classic guise. The idea was to produce exactly 14 tracks. 14 is the «Bach number»; he was fascinated by numerology, prime numbers, and cryptograms (B=2+A=1+C=3+H=8=14). This number defined the framework. Afterward, it moved forward intuitively: we listened through Bach’s MIDI directories and looked for interesting sequences we wanted to work with. Before we left for Sardinia, 14 respectable sketches had already been laid out, providing a framework for our musical journey.

— G: By the time I joined the project, the first tracks had already been recorded in Sardinia. The Bach pieces had therefore already been incorporated. It seemed natural for me to draw inspiration from my surroundings, from the incredible complexity and profound depth of Bach’s music, and to improvise during these recordings in Leipzig. The result was a blend of jazzy, contemporary classical and completely free sounds. On top of that, I have been studying Bach in depth for over 40 years. However, it was important to us that Bach’s influence should remain an inspiration rather than being overtly audible.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-vernunft-amas006

02 AMAS

You began in Pula, Sardinia — extracting and digitally dissecting the rhythmic and tonal essence of 14 Bach works while recording the surrounding landscape. What did isolation do to the music? Would the album sound different if it had started in a city studio?

— A: We wanted to go on a musical journey and incorporate the location directly into the music. That changed the fundamental mindset in the production process; it felt less like «production.» Our house was right by the sea with its own garden and access to the water. This contemplative mood, the vastness, and the silence put us into a completely different state of mind compared to our usual studio environment; we weren’t entirely ourselves and could forget almost everything. For us, the isolation was ultimately a blessing. It was late March with incredibly erratic weather—just right for absorbing all the diverse moods, sounds, and living things of the island around us and letting them flow directly into the project. If we listen to the different tracks today, it teleports us right back to that little house by the sea.

https://open.spotify.com/intl-es/track/2ZO9TuUHfPSS3kYt7VHcGi

II. The encounter — Leipzig and the double bass

03 AMAS & GRABNER

The session at HMT Leipzig was described as spontaneous improvisation over rudimentary sketches — closer to Miles Davis scoring a silent film than to classical rehearsal. How did you both experience that session in the moment?

— A: After the time on Sardinia, we went to Leipzig to record the tracks with F.M. Grabner. The session took place in one go over an entire day. He played completely freely over our sketches. Working with such a renowned and classically trained musician was surprisingly easy, though that was also due to F.M. Grabner and his easygoing nature, as well as our shared love for jazz, improvisation, and red wine.

-G: At the beginning of our recordings, there was a slight «fear of contact» on my part. This made me question whether I could meet the «expectations» for these improvisations, for this kind of music. That quickly faded with intensive engagement. We moved on to the recordings just a few minutes after listening to the tracks from Sardinia. Particularly interesting was when I played loops onto the first tracks and could then improvise on top of them again. That was a completely new dimension in my forms of expression, which usually tend to have a more «reproducing» character.

04 Grabner

Your career has been built inside the Baroque tradition — Bach Collegium Stuttgart, the Berlin Bach Academy, decades interpreting this repertoire. What does it feel like to approach Bach not as a score to be performed, but as raw material to be dissolved into techno?

— G: The Bachian music, which I obviously know, played more of an inspiring role here. For example, we rearranged, mirrored, inverted, and heavily distorted the notes «b a c h» so that they wouldn’t just «jump out» at the listener. For me, the final result of our production contains so many different facets of musical expression: highly percussive elements, the sonic spectrum of free jazz, all the way to aleatoric music.

05 AMAS

When Grabner’s double bass arrived into the electronic framework you had built in Sardinia, what changed? Was there something in the material that you hadn’t anticipated — something his instrument revealed that the machines couldn’t?

— A: It was as if we were entering a completely new tonal universe. Previously, we had only recorded short cello sections in Stuttgart and then integrated them into our earlier albums; here, we suddenly had entire improvised pieces, which were also played in a much more complex way than simply reproducing “normal” notes. There are bow strokes, and in some cases Frithjof even played the wood with the strings—we had to figure all of that out for ourselves first and then integrate it accordingly. Fortunately, through various technical maneuvers and experiments, the two universes merged quite beautifully, and we were able to combine the perfection and precision of the machines with the analog, organic play of Frithjof.

https://open.spotify.com/intl-es/track/2ZO9TuUHfPSS3kYt7VHcGi

III. Bach as material

06 AMAS & GRABNER

The press kit describes this as a «radical reimagining» rather than a translation of Bach. Where is the line between respect for the source and freedom to transform it — and did that line shift over the three years of the project?

— A: Just as we wanted to break away from the logic of common techno productions, the idea was to «free» Bach—who built his music according to almost rigid architectural principles. This often happened intuitively, frequently through unpredictable moments in sound design by sending note sequences through complex effect chains. It was supposed to be an AMAS record first and foremost. Some note sequences were processed so heavily that a layperson might not associate this soundscape directly with Bach—though surprisingly, F.M. Grabner always heard it. In other tracks, however, it was important to us to work explicitly with the original tone sequences. In up to 15 iterations, we kept reducing the material and carving out the «distillate.»

— G: Respect and admiration for the “Fifth Evangelist” are always present. It is precisely this freedom to engage with these roots that has made the current result possible. We have not imposed any limits on ourselves, but have consistently created work with an open-ended outcome.

07 Grabner

You have spent your career teaching and performing Bach with extreme precision. In post-production, your double bass often blurs the line between analog depth and synthetic texture — almost losing its identity as an acoustic instrument. Did that feel like a loss, or a liberation?

— G: I find that totally exciting. The «sonic layers» shift, but all the «played notes and effects» were left intact. Of course, they were distorted, overtone vibrations were made audible in a different way, and so on. In the final result, we experience a fusion of completely different stylistic elements into a new whole.

IV. The sound — Minimal, Dub-Techno, Ambient

08 AMAS & GRABNER

The album moves across Minimal, Dub-Techno and Ambient — and the tracklist reads like a single conceptual arc: Ankunft, Weite, Verirrung… through to Vernunft and Abschied. Was that arc composed intentionally, or did it emerge from the material itself?

— A: From the very beginning, the intention was to make an album with 14 tracks; it wasn’t meant to be a string of individual songs, but rather a single piece with 14 chapters. We wanted to capture our journey at that time musically, and the structure actually came together quite naturally. We always work with a strong concept, an idea that helps us stay on track and focus on the concept. With 14 tracks/chapters, it’s easy to lose sight of the big picture or the central theme, but thanks to our clear concept from the start, that fortunately didn’t happen to us. Frithjof was also part of the concept from the very beginning; he just didn’t know it yet.

— G: The structure, the sequence and the 14 tracks were all part of Philip and David’s plan from the very beginning. The fact that the ‘dramaturgy’ has turned out so cohesive is down to the interplay within the music, the arrangement of the tracks and the constant re-examination of them. This is the result of Philip and David’s immense hard work.

https://open.spotify.com/intl-es/track/20f8plybp9ThT4pOlR4SnN

09 AMAS

Your sound has been described as multilayer, melodic and warm — personal and always conceptual. How do you balance those qualities when the source material is as structured and mathematical as Bach? Where does the warmth come from in a record built on Baroque rigor?

— A: Debussy once said: «Music is what happens between the notes.» Perhaps that is exactly what reflects the counter-design to the mathematical rigor of Bach. Between these two poles, we transport a large spectrum of personal states—melancholy, vulnerability, but also vitality. That is what art should fundamentally always do. The warmth also comes from our sound design. Field recordings are an essential part of the sound. From the voices of the neighbors to the sound of the sea, bird chirping, or the sound of a metallic lamp bowl, everything was co-processed. Especially that plastic chandelier in WEITE almost managed to sound like a synthesizer. Furthermore, it was important to us to send the central instrument—the double bass—into the exact same acoustic «space» across all tracks. For this, we developed our own preset based on an Eventide reverb.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

V. The release — vinyl, limited edition, AMAS Studio

10 AMAS & GRABNER

SRDGN × LPZG comes out as a limited double LP — 200 copies worldwide, 180g vinyl, a 3D effect cover. For a record that began in isolation in Sardinia and was shaped by improvisation in Leipzig, what does the physical object mean? Why does this music need to exist on vinyl?

— A: «Audiophile» means to us that we rely on 180g vinyl. We put a lot of love for detail into our physical releases and have been working since day one with the team from Matter of Fact in Güstrow, who do fantastic work. Ultimately, it is most likely an album for the HiFi system and especially for the turntable; the vinyl mastering [by Brian Sanhaji / Calyx Mastering] is simply outstanding here and brings the entire depth and complexity of all 14 tracks into the ear with appropriate warmth and intensity.

— G: The tactile experience of holding such a ‘heavy’ record in your hand is something quite special. I’ve heard from students and colleagues that they’d love to own this ‘physical LP’ from AMAS Studio and add it to their collection. Of course, platforms like Apple Music or Spotify are widely used, but putting a record on the turntable at home and listening to it (with a glass of red wine in hand) is a real treat.

11 AMAS

This is AMAS006 — the sixth release on your own label. What does it mean to release something this ambitious on AMAS Studio rather than an established electronic label? What does keeping it in-house protect?

— A: We just want to go at our own pace, produce when we feel like it, and approach our art the way we see fit. We don’t rule out releasing on another label at all; it just happened this way. You gain certain freedoms, but you also take on responsibilities, like paying the bills on time, haha… In the end, it’s just a blessing to be able to manage the number of people involved yourself—from mastering to the photo shoot.

VI. What this means

12 Grabner

You have performed in symphony halls across Europe, Asia and America, and taught at conservatories for decades. How do you think your students — or your peers in the classical world — will receive a record that places your double bass inside Dub-Techno and Ambient structures?

— G: Whenever I told colleagues with my classical background about our project, there were questioning looks and rather a lack of understanding. As soon as the music was played (in a quiet setting and over a good sound system), there was enthusiasm.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-amas006

13 AMAS & GRABNER

SRDGN × LPZG sits between two worlds — the Baroque canon and the electronic underground — without fully belonging to either. Who do you imagine listening to this record, and what do you want them to take away from it?

— A: There are pieces for the club or festivals, but also for the car or an evening at home with a glass of red wine, one track or another is suitable. We are proud that we were able to implement the concept so stringently. AMAS is allowed to challenge the listener and occasionally leave familiar listening paths.

— G: Ever since our music became available to listen to, I have received nothing but positive feedback. This has come from listeners of my own generation as well as from classical music enthusiasts, jazz fans, techno and pop listeners of all ages, right through to young people whose musical tastes have not yet been fully formed. Realy incredible!

https://clubfuries.com.mx/2026/06/03/cfr-2026-06-amas-fm-grabner/

Editorial Closing

SRDGN × LPZG is a record that shouldn’t exist — and that is precisely why it does. The distance between Johann Sebastian Bach and Dub-Techno is not a contradiction to be resolved; in the hands of AMAS and Frithjof-Martin Grabner, it becomes a creative space that neither tradition could have opened alone. Three years, two geographies, one radical act of listening. Out June 5th on AMAS Studio.

https://open.spotify.com/intl-es/album/08iZXlHzr3fy5O9yIOrSKW

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Interview | AMAS & FRITHJOF-MARTIN GRABNER – SRDGN × LPZG: The strictness of Bach, dissolved

Editorial Introduction

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical facade? AMAS and Frithjof-Martin Grabner spent three years finding out.

SRDGN × LPZG is not a reinterpretation. It is a dissection. The duo AMAS — two old friends from southern Germany, one handling production and sound design, the other artistic vision and concept — began the project in the raw isolation of Pula, at the southernmost tip of Sardinia. There, they extracted the rhythmic and tonal skeleton of 14 Bach works and fused them with field recordings of the surrounding landscape, building a hypnotic framework of electronic structures rooted in Minimal, Dub-Techno, and Ambient.

That foundation then traveled to Leipzig, where it met Frithjof-Martin Grabner: solo double bassist, professor at the HMT Leipzig, and one of the most rigorous interpreters of the Baroque tradition in Germany. In an intense session at the historic HMT hall, Grabner improvised freely over the material — not from a score, but from instinct, in the spirit of Miles Davis scoring «Ascenseur pour l’échafaud»: atmosphere over technical perfection. The result blurs the line between analog depth and synthetic texture, between the 18th century and the club.

We spoke with AMAS and with Frithjof-Martin Grabner about the making of a record that is both an act of radical respect and radical transformation.

I. The origin — Sardinia and the idea

01 AMAS & GRABNER

SRDGN × LPZG took three years and two very different geographies to come together. What was the original impulse — what made you decide that Bach was the right starting point for this project?

— A: We didn’t actually think about these specific genres [Ambient and Dub Techno] at the beginning. After our first five releases, which were still very closely oriented toward the rigid structure of classic techno productions, we wanted to break away from this rigid scheme in our next work. The goal was to create tracks that could breathe more freely. We have also always had a great love for Ambient and soundtrack music. Ultimately, we combined both in the 14 tracks: the free approach all the way to tracks in a classic guise. The idea was to produce exactly 14 tracks. 14 is the «Bach number»; he was fascinated by numerology, prime numbers, and cryptograms (B=2+A=1+C=3+H=8=14). This number defined the framework. Afterward, it moved forward intuitively: we listened through Bach’s MIDI directories and looked for interesting sequences we wanted to work with. Before we left for Sardinia, 14 respectable sketches had already been laid out, providing a framework for our musical journey.

— G: By the time I joined the project, the first tracks had already been recorded in Sardinia. The Bach pieces had therefore already been incorporated. It seemed natural for me to draw inspiration from my surroundings, from the incredible complexity and profound depth of Bach’s music, and to improvise during these recordings in Leipzig. The result was a blend of jazzy, contemporary classical and completely free sounds. On top of that, I have been studying Bach in depth for over 40 years. However, it was important to us that Bach’s influence should remain an inspiration rather than being overtly audible.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-vernunft-amas006

02 AMAS

You began in Pula, Sardinia — extracting and digitally dissecting the rhythmic and tonal essence of 14 Bach works while recording the surrounding landscape. What did isolation do to the music? Would the album sound different if it had started in a city studio?

— A: We wanted to go on a musical journey and incorporate the location directly into the music. That changed the fundamental mindset in the production process; it felt less like «production.» Our house was right by the sea with its own garden and access to the water. This contemplative mood, the vastness, and the silence put us into a completely different state of mind compared to our usual studio environment; we weren’t entirely ourselves and could forget almost everything. For us, the isolation was ultimately a blessing. It was late March with incredibly erratic weather—just right for absorbing all the diverse moods, sounds, and living things of the island around us and letting them flow directly into the project. If we listen to the different tracks today, it teleports us right back to that little house by the sea.

https://open.spotify.com/intl-es/track/2ZO9TuUHfPSS3kYt7VHcGi

II. The encounter — Leipzig and the double bass

03 AMAS & GRABNER

The session at HMT Leipzig was described as spontaneous improvisation over rudimentary sketches — closer to Miles Davis scoring a silent film than to classical rehearsal. How did you both experience that session in the moment?

— A: After the time on Sardinia, we went to Leipzig to record the tracks with F.M. Grabner. The session took place in one go over an entire day. He played completely freely over our sketches. Working with such a renowned and classically trained musician was surprisingly easy, though that was also due to F.M. Grabner and his easygoing nature, as well as our shared love for jazz, improvisation, and red wine.

-G: At the beginning of our recordings, there was a slight «fear of contact» on my part. This made me question whether I could meet the «expectations» for these improvisations, for this kind of music. That quickly faded with intensive engagement. We moved on to the recordings just a few minutes after listening to the tracks from Sardinia. Particularly interesting was when I played loops onto the first tracks and could then improvise on top of them again. That was a completely new dimension in my forms of expression, which usually tend to have a more «reproducing» character.

04 Grabner

Your career has been built inside the Baroque tradition — Bach Collegium Stuttgart, the Berlin Bach Academy, decades interpreting this repertoire. What does it feel like to approach Bach not as a score to be performed, but as raw material to be dissolved into techno?

— G: The Bachian music, which I obviously know, played more of an inspiring role here. For example, we rearranged, mirrored, inverted, and heavily distorted the notes «b a c h» so that they wouldn’t just «jump out» at the listener. For me, the final result of our production contains so many different facets of musical expression: highly percussive elements, the sonic spectrum of free jazz, all the way to aleatoric music.

05 AMAS

When Grabner’s double bass arrived into the electronic framework you had built in Sardinia, what changed? Was there something in the material that you hadn’t anticipated — something his instrument revealed that the machines couldn’t?

— A: It was as if we were entering a completely new tonal universe. Previously, we had only recorded short cello sections in Stuttgart and then integrated them into our earlier albums; here, we suddenly had entire improvised pieces, which were also played in a much more complex way than simply reproducing “normal” notes. There are bow strokes, and in some cases Frithjof even played the wood with the strings—we had to figure all of that out for ourselves first and then integrate it accordingly. Fortunately, through various technical maneuvers and experiments, the two universes merged quite beautifully, and we were able to combine the perfection and precision of the machines with the analog, organic play of Frithjof.

https://open.spotify.com/intl-es/track/2ZO9TuUHfPSS3kYt7VHcGi

III. Bach as material

06 AMAS & GRABNER

The press kit describes this as a «radical reimagining» rather than a translation of Bach. Where is the line between respect for the source and freedom to transform it — and did that line shift over the three years of the project?

— A: Just as we wanted to break away from the logic of common techno productions, the idea was to «free» Bach—who built his music according to almost rigid architectural principles. This often happened intuitively, frequently through unpredictable moments in sound design by sending note sequences through complex effect chains. It was supposed to be an AMAS record first and foremost. Some note sequences were processed so heavily that a layperson might not associate this soundscape directly with Bach—though surprisingly, F.M. Grabner always heard it. In other tracks, however, it was important to us to work explicitly with the original tone sequences. In up to 15 iterations, we kept reducing the material and carving out the «distillate.»

— G: Respect and admiration for the “Fifth Evangelist” are always present. It is precisely this freedom to engage with these roots that has made the current result possible. We have not imposed any limits on ourselves, but have consistently created work with an open-ended outcome.

07 Grabner

You have spent your career teaching and performing Bach with extreme precision. In post-production, your double bass often blurs the line between analog depth and synthetic texture — almost losing its identity as an acoustic instrument. Did that feel like a loss, or a liberation?

— G: I find that totally exciting. The «sonic layers» shift, but all the «played notes and effects» were left intact. Of course, they were distorted, overtone vibrations were made audible in a different way, and so on. In the final result, we experience a fusion of completely different stylistic elements into a new whole.

IV. The sound — Minimal, Dub-Techno, Ambient

08 AMAS & GRABNER

The album moves across Minimal, Dub-Techno and Ambient — and the tracklist reads like a single conceptual arc: Ankunft, Weite, Verirrung… through to Vernunft and Abschied. Was that arc composed intentionally, or did it emerge from the material itself?

— A: From the very beginning, the intention was to make an album with 14 tracks; it wasn’t meant to be a string of individual songs, but rather a single piece with 14 chapters. We wanted to capture our journey at that time musically, and the structure actually came together quite naturally. We always work with a strong concept, an idea that helps us stay on track and focus on the concept. With 14 tracks/chapters, it’s easy to lose sight of the big picture or the central theme, but thanks to our clear concept from the start, that fortunately didn’t happen to us. Frithjof was also part of the concept from the very beginning; he just didn’t know it yet.

— G: The structure, the sequence and the 14 tracks were all part of Philip and David’s plan from the very beginning. The fact that the ‘dramaturgy’ has turned out so cohesive is down to the interplay within the music, the arrangement of the tracks and the constant re-examination of them. This is the result of Philip and David’s immense hard work.

https://open.spotify.com/intl-es/track/20f8plybp9ThT4pOlR4SnN

09 AMAS

Your sound has been described as multilayer, melodic and warm — personal and always conceptual. How do you balance those qualities when the source material is as structured and mathematical as Bach? Where does the warmth come from in a record built on Baroque rigor?

— A: Debussy once said: «Music is what happens between the notes.» Perhaps that is exactly what reflects the counter-design to the mathematical rigor of Bach. Between these two poles, we transport a large spectrum of personal states—melancholy, vulnerability, but also vitality. That is what art should fundamentally always do. The warmth also comes from our sound design. Field recordings are an essential part of the sound. From the voices of the neighbors to the sound of the sea, bird chirping, or the sound of a metallic lamp bowl, everything was co-processed. Especially that plastic chandelier in WEITE almost managed to sound like a synthesizer. Furthermore, it was important to us to send the central instrument—the double bass—into the exact same acoustic «space» across all tracks. For this, we developed our own preset based on an Eventide reverb.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

V. The release — vinyl, limited edition, AMAS Studio

10 AMAS & GRABNER

SRDGN × LPZG comes out as a limited double LP — 200 copies worldwide, 180g vinyl, a 3D effect cover. For a record that began in isolation in Sardinia and was shaped by improvisation in Leipzig, what does the physical object mean? Why does this music need to exist on vinyl?

— A: «Audiophile» means to us that we rely on 180g vinyl. We put a lot of love for detail into our physical releases and have been working since day one with the team from Matter of Fact in Güstrow, who do fantastic work. Ultimately, it is most likely an album for the HiFi system and especially for the turntable; the vinyl mastering [by Brian Sanhaji / Calyx Mastering] is simply outstanding here and brings the entire depth and complexity of all 14 tracks into the ear with appropriate warmth and intensity.

— G: The tactile experience of holding such a ‘heavy’ record in your hand is something quite special. I’ve heard from students and colleagues that they’d love to own this ‘physical LP’ from AMAS Studio and add it to their collection. Of course, platforms like Apple Music or Spotify are widely used, but putting a record on the turntable at home and listening to it (with a glass of red wine in hand) is a real treat.

11 AMAS

This is AMAS006 — the sixth release on your own label. What does it mean to release something this ambitious on AMAS Studio rather than an established electronic label? What does keeping it in-house protect?

— A: We just want to go at our own pace, produce when we feel like it, and approach our art the way we see fit. We don’t rule out releasing on another label at all; it just happened this way. You gain certain freedoms, but you also take on responsibilities, like paying the bills on time, haha… In the end, it’s just a blessing to be able to manage the number of people involved yourself—from mastering to the photo shoot.

VI. What this means

12 Grabner

You have performed in symphony halls across Europe, Asia and America, and taught at conservatories for decades. How do you think your students — or your peers in the classical world — will receive a record that places your double bass inside Dub-Techno and Ambient structures?

— G: Whenever I told colleagues with my classical background about our project, there were questioning looks and rather a lack of understanding. As soon as the music was played (in a quiet setting and over a good sound system), there was enthusiasm.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-amas006

13 AMAS & GRABNER

SRDGN × LPZG sits between two worlds — the Baroque canon and the electronic underground — without fully belonging to either. Who do you imagine listening to this record, and what do you want them to take away from it?

— A: There are pieces for the club or festivals, but also for the car or an evening at home with a glass of red wine, one track or another is suitable. We are proud that we were able to implement the concept so stringently. AMAS is allowed to challenge the listener and occasionally leave familiar listening paths.

— G: Ever since our music became available to listen to, I have received nothing but positive feedback. This has come from listeners of my own generation as well as from classical music enthusiasts, jazz fans, techno and pop listeners of all ages, right through to young people whose musical tastes have not yet been fully formed. Realy incredible!

https://clubfuries.com.mx/2026/06/03/cfr-2026-06-amas-fm-grabner/

Editorial Closing

SRDGN × LPZG is a record that shouldn’t exist — and that is precisely why it does. The distance between Johann Sebastian Bach and Dub-Techno is not a contradiction to be resolved; in the hands of AMAS and Frithjof-Martin Grabner, it becomes a creative space that neither tradition could have opened alone. Three years, two geographies, one radical act of listening. Out June 5th on AMAS Studio.

https://open.spotify.com/intl-es/album/08iZXlHzr3fy5O9yIOrSKW

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Tia Ottman – Elastik [EABE]

From the sonic landscapes of Finland, EABE has established itself as a key platform for hypnotic and visceral techno, operating as a meeting point where Nordic austerity is transformed into deeply immersive listening rituals. Through a curatorial vision centred on atmosphere and emotional intensity, the label has built a strong identity that continues to expand through Seremonia, a sublabel that approaches electronic music not merely as functional structure, but as a practice connected to the ancestral, the essential, and the transformative.

EABE’s vision is not concerned with conventional expectations. Its catalogue is devoted to experiences where texture, tension, and emotional depth carry as much weight as physical movement. Each release reinforces an understanding of techno as a contemporary language capable of shaping perception itself, positioning the label among the most compelling outlets for listeners seeking personality, technical precision, and a clearly defined aesthetic direction.

https://clubfuries.com.mx/2026/05/23/cfs-janos-emporio-love-poem-eabe/

Its latest release marks the debut of Tia Ottman on the label. Based in Helsinki, the DJ and producer operates at the intersection of deep house, minimal, and an emotional sensibility that runs throughout her work. Her productions combine immersive grooves, melancholic textures, and atmospheres influenced by contemporary pop language, creating a sound where introspection and dancefloor functionality coexist naturally.

Her creative process is guided by intuition rather than adherence to stylistic formulas. The music develops through the relationship between body, emotion, and movement, resulting in fluid structures, subtle progressions, and carefully constructed sonic environments capable of supporting both collective energy and individual reflection.

Across her productions, emotional depth and rhythmic drive remain inseparable. Melodic elements introduce an affective dimension without interrupting the groove, while the percussive foundations maintain a constant presence that encourages immersion. The strength of her work emerges not through dramatic contrasts, but through gradual transformations that continuously reshape perception.

https://soundcloud.com/clubfuriess/cfs-tia-ottman-elastik-eabe

With this release on EABE, and another forthcoming on The Sound Collective, Tia Ottman continues to solidify a distinctive artistic identity within contemporary electronic music. Her work inhabits a space where club culture, emotional exploration, and questions of identity intersect naturally, resulting in compositions that function equally as dancefloor tools and spaces for introspection.

Elastik showcases those qualities from the very beginning. The track arrives with immediate presence, rapidly developing a dense texture that expands into soundscapes that feel both compact and vast. As it unfolds, melodic flashes emerge like openings within the rhythmic structure, constantly redirecting the listener’s attention. At this point the journey appears to split into multiple possible paths. Deep house, minimal, and techno impulses interact without any one of them taking control, creating a suspended state where each sonic decision opens a new direction. The intensity continues to build until it reaches elastic techno and house resonances that push the track toward its limits, sustaining a tension that never fully breaks but continues to vibrate long after the music has faded.

Label: EABE
Title: Elastik
Artist: Tia Ottman
Catalogue: EABE-LXXXII
Mastered by ODJ Pirkka
Artwork by Aito Kopisto

Release Date: June 17, 2026
Support & Buy: Bandcamp

Tracklist
1. Elastik 05:43
2. Elastik (Type-303 remix) 05:17
3. Elastik (drS remix) 06:45

Tia Ottman

Website | SoundCloud | Beatport | Bandcamp

EABE

SoundCloud | Bandcamp | Instagram | Facebook | Twitter | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Tia Ottman – Elastik [EABE]

From the sonic landscapes of Finland, EABE has established itself as a key platform for hypnotic and visceral techno, operating as a meeting point where Nordic austerity is transformed into deeply immersive listening rituals. Through a curatorial vision centred on atmosphere and emotional intensity, the label has built a strong identity that continues to expand through Seremonia, a sublabel that approaches electronic music not merely as functional structure, but as a practice connected to the ancestral, the essential, and the transformative.

EABE’s vision is not concerned with conventional expectations. Its catalogue is devoted to experiences where texture, tension, and emotional depth carry as much weight as physical movement. Each release reinforces an understanding of techno as a contemporary language capable of shaping perception itself, positioning the label among the most compelling outlets for listeners seeking personality, technical precision, and a clearly defined aesthetic direction.

https://clubfuries.com.mx/2026/05/23/cfs-janos-emporio-love-poem-eabe/

Its latest release marks the debut of Tia Ottman on the label. Based in Helsinki, the DJ and producer operates at the intersection of deep house, minimal, and an emotional sensibility that runs throughout her work. Her productions combine immersive grooves, melancholic textures, and atmospheres influenced by contemporary pop language, creating a sound where introspection and dancefloor functionality coexist naturally.

Her creative process is guided by intuition rather than adherence to stylistic formulas. The music develops through the relationship between body, emotion, and movement, resulting in fluid structures, subtle progressions, and carefully constructed sonic environments capable of supporting both collective energy and individual reflection.

Across her productions, emotional depth and rhythmic drive remain inseparable. Melodic elements introduce an affective dimension without interrupting the groove, while the percussive foundations maintain a constant presence that encourages immersion. The strength of her work emerges not through dramatic contrasts, but through gradual transformations that continuously reshape perception.

https://soundcloud.com/clubfuriess/cfs-tia-ottman-elastik-eabe

With this release on EABE, and another forthcoming on The Sound Collective, Tia Ottman continues to solidify a distinctive artistic identity within contemporary electronic music. Her work inhabits a space where club culture, emotional exploration, and questions of identity intersect naturally, resulting in compositions that function equally as dancefloor tools and spaces for introspection.

Elastik showcases those qualities from the very beginning. The track arrives with immediate presence, rapidly developing a dense texture that expands into soundscapes that feel both compact and vast. As it unfolds, melodic flashes emerge like openings within the rhythmic structure, constantly redirecting the listener’s attention. At this point the journey appears to split into multiple possible paths. Deep house, minimal, and techno impulses interact without any one of them taking control, creating a suspended state where each sonic decision opens a new direction. The intensity continues to build until it reaches elastic techno and house resonances that push the track toward its limits, sustaining a tension that never fully breaks but continues to vibrate long after the music has faded.

Label: EABE
Title: Elastik
Artist: Tia Ottman
Catalogue: EABE-LXXXII
Mastered by ODJ Pirkka
Artwork by Aito Kopisto

Release Date: June 17, 2026
Support & Buy: Bandcamp

Tracklist
1. Elastik 05:43
2. Elastik (Type-303 remix) 05:17
3. Elastik (drS remix) 06:45

Tia Ottman

Website | SoundCloud | Beatport | Bandcamp

EABE

SoundCloud | Bandcamp | Instagram | Facebook | Twitter | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Apigenin – Focussed [Black Hole Transmissions]

Apigenin is the Berlin-based project formed by Solenoid, a three-decade veteran of the techno scene, and his nephew mmoonn, a musician and visual artist. Together, they strike a compelling balance between experience and contemporary sensibility, united by a shared fascination with the hypnotic potential of groove. Two generations converge around a common understanding of techno as a medium for immersion, repetition, and perceptual transformation.

https://clubfuries.com.mx/2026/03/16/cfp-apigenin-kundalini-bht006/

Their second EP for Black Hole Transmissions delves deeper into that territory. Across four compositions, the duo develops a sound rooted in deep textures, functional repetition, and rhythmic structures that favour gradual absorption over immediate impact. Each track seems to explore a different variation of the same question. How far can a groove carry the listener when given enough time to unfold?

The journey begins with Focused, a piece that immediately establishes the character of the release. Hypnotic sequences, precise percussion, and a restrained sonic architecture create a feeling of continuous forward motion. Nothing feels rushed. Every modulation, microscopic variation, and subtle frequency shift contributes to sustaining tension while the structure evolves almost imperceptibly.

https://soundcloud.com/clubfuriess/cfs-apigenin-focused-bht007

There is also a sense of depth that extends beyond the purely sonic dimension. The track unfolds across an expanded temporality where past and future coexist within the same current. Echoes of classic hypnotic techno traditions interact with a distinctly contemporary sensibility, creating a compelling dialogue between familiarity and exploration. The result feels almost ritualistic, as though time itself has ceased to fragment and instead flows as a single uninterrupted continuum.

With this second release, Apigenin further consolidates a vision centred on the most immersive aspects of contemporary techno. Rather than relying on immediate formulas, the duo builds its language through precision, patience, and gradual evolution. A space where groove, hypnosis, and depth no longer operate as separate elements, but as different expressions of the same moving force.

Label: Black Hole Transmissions
Artist: Apigenin
Title: Focussed
Catalogue: BHT007

Release Date: June 26, 2026
Support & Buy: Bandcamp

Tracklist
1. Focused
2. Future Proof
3. Groovin
4. North

Black Hole Transmissions

SoundCloud | Instagram | YouTube | Facebook | Bandcamp | hearthis.at

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Apigenin – Focussed [Black Hole Transmissions]

Apigenin is the Berlin-based project formed by Solenoid, a three-decade veteran of the techno scene, and his nephew mmoonn, a musician and visual artist. Together, they strike a compelling balance between experience and contemporary sensibility, united by a shared fascination with the hypnotic potential of groove. Two generations converge around a common understanding of techno as a medium for immersion, repetition, and perceptual transformation.

https://clubfuries.com.mx/2026/03/16/cfp-apigenin-kundalini-bht006/

Their second EP for Black Hole Transmissions delves deeper into that territory. Across four compositions, the duo develops a sound rooted in deep textures, functional repetition, and rhythmic structures that favour gradual absorption over immediate impact. Each track seems to explore a different variation of the same question. How far can a groove carry the listener when given enough time to unfold?

The journey begins with Focused, a piece that immediately establishes the character of the release. Hypnotic sequences, precise percussion, and a restrained sonic architecture create a feeling of continuous forward motion. Nothing feels rushed. Every modulation, microscopic variation, and subtle frequency shift contributes to sustaining tension while the structure evolves almost imperceptibly.

https://soundcloud.com/clubfuriess/cfs-apigenin-focused-bht007

There is also a sense of depth that extends beyond the purely sonic dimension. The track unfolds across an expanded temporality where past and future coexist within the same current. Echoes of classic hypnotic techno traditions interact with a distinctly contemporary sensibility, creating a compelling dialogue between familiarity and exploration. The result feels almost ritualistic, as though time itself has ceased to fragment and instead flows as a single uninterrupted continuum.

With this second release, Apigenin further consolidates a vision centred on the most immersive aspects of contemporary techno. Rather than relying on immediate formulas, the duo builds its language through precision, patience, and gradual evolution. A space where groove, hypnosis, and depth no longer operate as separate elements, but as different expressions of the same moving force.

Label: Black Hole Transmissions
Artist: Apigenin
Title: Focussed
Catalogue: BHT007

Release Date: June 26, 2026
Support & Buy: Bandcamp

Tracklist
1. Focused
2. Future Proof
3. Groovin
4. North

Black Hole Transmissions

SoundCloud | Instagram | YouTube | Facebook | Bandcamp | hearthis.at

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Alina Valentina – Air Slasher [Schrödinger’s Box]

Alina Valentina moves freely across multiple territories of contemporary electronic music. Acid, electro, synth wave, EBM, and vocal manipulation converge into a distinctive language where influences become raw material for a clearly defined sonic identity. Her approach embraces the physical energy of the dancefloor while maintaining a strong aesthetic and narrative character, balancing bodily impact with conceptual depth.

https://clubfuries.com.mx/2022/02/24/premiere-club-furies-alina-valentina-lost-fellowship-self-released/

That vision takes shape in NPC Dream, an eight-track album released through Schrödinger’s Box, where the producer constructs a journey that continuously shifts between genres, intensities, and emotional states. The record unfolds through constant transformation, avoiding comfort zones and maintaining an ongoing sense of motion. Rather than moving between styles, it uses each one as a different tool for expanding a singular sonic universe.

From the opening moments of Air Slasher, tension emerges through forceful percussion, expansive acid lines, and an atmosphere saturated with electricity. The effect is immediate. Darkness, mystery, and a barely restrained sense of threat circulate throughout the composition, creating a feeling of constant anticipation. Every element seems poised on the verge of eruption, yet the track never loses control of its internal dynamics.

https://soundcloud.com/clubfuriess/cfs-alina-valentina-air-slasher-sbox-022

Further into the album, the title track pushes this direction even further through abrasive electro structures, sharpened synthesizers, and vocal treatments that introduce a distinctly mechanical and unsettling dimension. Here, Alina Valentina’s ability to engage with retro aesthetics becomes especially apparent. Old-school echoes run through the composition, yet they are reshaped through an unmistakably contemporary perspective. The past is not revisited nostalgically but reconfigured as living material, ready to be transformed and projected forward.

Throughout NPC Dream, Alina Valentina demonstrates a remarkable ability to integrate seemingly disparate elements into a coherent and highly personal narrative. The result is an intense, unpredictable work filled with character, where experimentation never feels like disruption for its own sake. Instead, it becomes a natural method for constructing movement, identity, and tension. In that sense, NPC Dream functions as far more than a collection of tracks. It stands as a confident artistic statement, restless and deeply attuned to the evolving mutations of contemporary electronic music.

Label: Schrödinger’s Box
Catalogue: SBOX 022
Artist: Alina Valentina
Title: NPC Dream

Release Date: June 15, 2026
Support & Buy: Bandcamp

Side A
A1 – Air Slasher 4:12
A2 – NPC Dream 4:23
A3 – Echo Of Ecco 5:05
A4 – Mine Cart Madness 4:00
Total – 17:35

Side B
B1 – Pixel Swamp 3:29
B2 – Come Get Some 5:14
B3 – Wishing Engine 4:15
B4 – Light Warrior 4:40
Total – 17:38

Alina Valentina

SoundCloud | Bandcamp | Instagram | Facebook | YouTube | Twitter | Website | Spotify | Linktree

Schrödinger’s Box

SoundCloud | Instagram | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Alina Valentina – Air Slasher [Schrödinger’s Box]

Alina Valentina moves freely across multiple territories of contemporary electronic music. Acid, electro, synth wave, EBM, and vocal manipulation converge into a distinctive language where influences become raw material for a clearly defined sonic identity. Her approach embraces the physical energy of the dancefloor while maintaining a strong aesthetic and narrative character, balancing bodily impact with conceptual depth.

https://clubfuries.com.mx/2022/02/24/premiere-club-furies-alina-valentina-lost-fellowship-self-released/

That vision takes shape in NPC Dream, an eight-track album released through Schrödinger’s Box, where the producer constructs a journey that continuously shifts between genres, intensities, and emotional states. The record unfolds through constant transformation, avoiding comfort zones and maintaining an ongoing sense of motion. Rather than moving between styles, it uses each one as a different tool for expanding a singular sonic universe.

From the opening moments of Air Slasher, tension emerges through forceful percussion, expansive acid lines, and an atmosphere saturated with electricity. The effect is immediate. Darkness, mystery, and a barely restrained sense of threat circulate throughout the composition, creating a feeling of constant anticipation. Every element seems poised on the verge of eruption, yet the track never loses control of its internal dynamics.

https://soundcloud.com/clubfuriess/cfs-alina-valentina-air-slasher-sbox-022

Further into the album, the title track pushes this direction even further through abrasive electro structures, sharpened synthesizers, and vocal treatments that introduce a distinctly mechanical and unsettling dimension. Here, Alina Valentina’s ability to engage with retro aesthetics becomes especially apparent. Old-school echoes run through the composition, yet they are reshaped through an unmistakably contemporary perspective. The past is not revisited nostalgically but reconfigured as living material, ready to be transformed and projected forward.

Throughout NPC Dream, Alina Valentina demonstrates a remarkable ability to integrate seemingly disparate elements into a coherent and highly personal narrative. The result is an intense, unpredictable work filled with character, where experimentation never feels like disruption for its own sake. Instead, it becomes a natural method for constructing movement, identity, and tension. In that sense, NPC Dream functions as far more than a collection of tracks. It stands as a confident artistic statement, restless and deeply attuned to the evolving mutations of contemporary electronic music.

Label: Schrödinger’s Box
Catalogue: SBOX 022
Artist: Alina Valentina
Title: NPC Dream

Release Date: June 15, 2026
Support & Buy: Bandcamp

Side A
A1 – Air Slasher 4:12
A2 – NPC Dream 4:23
A3 – Echo Of Ecco 5:05
A4 – Mine Cart Madness 4:00
Total – 17:35

Side B
B1 – Pixel Swamp 3:29
B2 – Come Get Some 5:14
B3 – Wishing Engine 4:15
B4 – Light Warrior 4:40
Total – 17:38

Alina Valentina

SoundCloud | Bandcamp | Instagram | Facebook | YouTube | Twitter | Website | Spotify | Linktree

Schrödinger’s Box

SoundCloud | Instagram | Facebook | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

Club Furies Review | The Persistence of Form: AMAS & F. M. Grabner present SRDNG x LPZG

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its Baroque facade and relocated into the realms of Minimal, Dub Techno, and Ambient? On SRDNG x LPZG, AMAS and double bassist Frithjof-Martin Grabner propose a compelling answer. Rather than revisiting Bach as a historical figure, the German duo approaches his work as a living structural force, extracting rhythmic and harmonic architectures from fourteen compositions and projecting them into a contemporary sonic language built on repetition, texture, and spatial perception.

Developed over three years between southern Sardinia and Leipzig, the album draws its identity from the dialogue between two contrasting environments. Sardinia contributes openness, isolation, and contemplation. Leipzig provides intellectual density, musical tradition, and academic rigor. Throughout the record, these seemingly distant worlds converge into a coherent narrative where atmosphere and structure become inseparable.

The opening sequence immediately establishes this relationship. ANKUNFT unfolds like an arrival into remote coastal landscapes where human presence survives only as a distant whisper. Drones, subtle ambient layers, and Grabner’s contributions generate an expansive visual quality that feels detached from conventional notions of time. This sensation deepens with WEITE, whose immense spatial character functions almost as a rejection of contemporary acceleration. Its vastness transforms anxiety into stillness, allowing sound to occupy space with unusual patience.

As the album progresses, its conceptual dimension becomes increasingly apparent. VERIRRUNG introduces delicate sonic labyrinths that expand through shimmering repetitions and subtle harmonic shifts. The feeling of disorientation never becomes threatening. Instead, it emerges as a natural condition of exploration. This quality reaches one of its most evocative moments in NACHT, where darkness is transformed into a state of absolute beauty. Past, present, and future dissolve into a nocturnal landscape whose calmness feels strangely eternal.

The transition into RAUSCH marks a subtle yet important shift. Existing in that liminal territory between night and day, the track captures the fragile atmosphere of early dawn. Silence gradually gives way to the distant emergence of urban noise, creating a tension between introspection and awakening. This dialogue between serenity and unease becomes central to the album’s emotional trajectory.

One of the most striking achievements of SRDNG x LPZG lies in its ability to generate emotional complexity through minimal means. ABSTRAKTION pushes this quality toward its most intense expression. Extended high-frequency tones create a sensation of suspended inevitability, producing a strangely beautiful form of existential tension. The darkness it introduces finds immediate relief in STIMMEN, whose vocal elements bring warmth and humanity back into focus. Nostalgia remains present, yet its melancholic weight dissolves into comfort, tenderness, and quiet joy.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

The central section of the album further demonstrates the strength of the collaboration between AMAS and Grabner. The internationally acclaimed bassist, whose career spans some of Europe’s most prestigious musical institutions, contributes an organic dimension that continuously blurs the boundaries between acoustic performance and electronic processing. On CHAOS, this interaction becomes particularly evident. Elevated and low frequencies coexist within a delicate equilibrium where classical sensibilities and contemporary electronic abstraction merge without hierarchy.

From there, the album gradually reveals its deeper narrative. WEGE feels like a reflection upon the journey itself, exposing landscapes that are both contemplative and subtly threatening. The path forward appears uncertain, yet its permanence becomes undeniable. That tension eventually reaches its resolution through LICHT, arguably one of the album’s defining moments. Here, the artistic achievement of the project becomes fully visible. Complex conceptual foundations are translated into sound with remarkable elegance, creating music that feels intuitive despite the extraordinary sophistication beneath its surface.

https://clubfuries.com.mx/2026/05/31/cfs-amas-fm-grabner-vernunft-amas006/

The final stretch reinforces the record’s cyclical logic. KLARHEIT introduces clarity through agile, luminous electronic textures whose playful qualities provide a welcome sense of renewal. DUESTERNIS returns to anxiety, constructing dense sonic mazes that echo the psychological pressures of contemporary life. Yet even here, AMAS avoids simple pessimism. The darkness functions as an essential counterpart to illumination.

This balance ultimately finds its conclusion in VERNUNFT and ABSCHIED. The former transforms reason itself into sound, presenting an atmosphere that feels simultaneously unsettling and comforting. The latter serves as a fitting farewell to a work that understands the album format as a complete artistic statement rather than a collection of isolated tracks. Its ending does not seek closure as much as it invites reflection.

Limited to 200 copies on heavyweight double vinyl and accompanied by a striking three-dimensional sleeve design, SRDNG x LPZG extends its conceptual ambitions beyond sound alone. Like AMAS’ previous works, visual identity, narrative construction, and musical composition operate as interconnected elements of a unified artistic vision.

In the end, SRDNG x LPZG succeeds because it approaches Bach neither with reverence nor nostalgia. Instead, it recognizes that the structural principles underlying his music remain fertile ground for experimentation. Through Ambient, Dub Techno, Minimalism, and the remarkable contributions of Frithjof-Martin Grabner, AMAS transforms those principles into something profoundly contemporary. An ambitious, deeply immersive, and quietly avant-garde work that rewards patient listening with uncommon depth.

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

Club Furies Review | The Persistence of Form: AMAS & F. M. Grabner present SRDNG x LPZG

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its Baroque facade and relocated into the realms of Minimal, Dub Techno, and Ambient? On SRDNG x LPZG, AMAS and double bassist Frithjof-Martin Grabner propose a compelling answer. Rather than revisiting Bach as a historical figure, the German duo approaches his work as a living structural force, extracting rhythmic and harmonic architectures from fourteen compositions and projecting them into a contemporary sonic language built on repetition, texture, and spatial perception.

Developed over three years between southern Sardinia and Leipzig, the album draws its identity from the dialogue between two contrasting environments. Sardinia contributes openness, isolation, and contemplation. Leipzig provides intellectual density, musical tradition, and academic rigor. Throughout the record, these seemingly distant worlds converge into a coherent narrative where atmosphere and structure become inseparable.

The opening sequence immediately establishes this relationship. ANKUNFT unfolds like an arrival into remote coastal landscapes where human presence survives only as a distant whisper. Drones, subtle ambient layers, and Grabner’s contributions generate an expansive visual quality that feels detached from conventional notions of time. This sensation deepens with WEITE, whose immense spatial character functions almost as a rejection of contemporary acceleration. Its vastness transforms anxiety into stillness, allowing sound to occupy space with unusual patience.

As the album progresses, its conceptual dimension becomes increasingly apparent. VERIRRUNG introduces delicate sonic labyrinths that expand through shimmering repetitions and subtle harmonic shifts. The feeling of disorientation never becomes threatening. Instead, it emerges as a natural condition of exploration. This quality reaches one of its most evocative moments in NACHT, where darkness is transformed into a state of absolute beauty. Past, present, and future dissolve into a nocturnal landscape whose calmness feels strangely eternal.

The transition into RAUSCH marks a subtle yet important shift. Existing in that liminal territory between night and day, the track captures the fragile atmosphere of early dawn. Silence gradually gives way to the distant emergence of urban noise, creating a tension between introspection and awakening. This dialogue between serenity and unease becomes central to the album’s emotional trajectory.

One of the most striking achievements of SRDNG x LPZG lies in its ability to generate emotional complexity through minimal means. ABSTRAKTION pushes this quality toward its most intense expression. Extended high-frequency tones create a sensation of suspended inevitability, producing a strangely beautiful form of existential tension. The darkness it introduces finds immediate relief in STIMMEN, whose vocal elements bring warmth and humanity back into focus. Nostalgia remains present, yet its melancholic weight dissolves into comfort, tenderness, and quiet joy.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

The central section of the album further demonstrates the strength of the collaboration between AMAS and Grabner. The internationally acclaimed bassist, whose career spans some of Europe’s most prestigious musical institutions, contributes an organic dimension that continuously blurs the boundaries between acoustic performance and electronic processing. On CHAOS, this interaction becomes particularly evident. Elevated and low frequencies coexist within a delicate equilibrium where classical sensibilities and contemporary electronic abstraction merge without hierarchy.

From there, the album gradually reveals its deeper narrative. WEGE feels like a reflection upon the journey itself, exposing landscapes that are both contemplative and subtly threatening. The path forward appears uncertain, yet its permanence becomes undeniable. That tension eventually reaches its resolution through LICHT, arguably one of the album’s defining moments. Here, the artistic achievement of the project becomes fully visible. Complex conceptual foundations are translated into sound with remarkable elegance, creating music that feels intuitive despite the extraordinary sophistication beneath its surface.

https://clubfuries.com.mx/2026/05/31/cfs-amas-fm-grabner-vernunft-amas006/

The final stretch reinforces the record’s cyclical logic. KLARHEIT introduces clarity through agile, luminous electronic textures whose playful qualities provide a welcome sense of renewal. DUESTERNIS returns to anxiety, constructing dense sonic mazes that echo the psychological pressures of contemporary life. Yet even here, AMAS avoids simple pessimism. The darkness functions as an essential counterpart to illumination.

This balance ultimately finds its conclusion in VERNUNFT and ABSCHIED. The former transforms reason itself into sound, presenting an atmosphere that feels simultaneously unsettling and comforting. The latter serves as a fitting farewell to a work that understands the album format as a complete artistic statement rather than a collection of isolated tracks. Its ending does not seek closure as much as it invites reflection.

Limited to 200 copies on heavyweight double vinyl and accompanied by a striking three-dimensional sleeve design, SRDNG x LPZG extends its conceptual ambitions beyond sound alone. Like AMAS’ previous works, visual identity, narrative construction, and musical composition operate as interconnected elements of a unified artistic vision.

In the end, SRDNG x LPZG succeeds because it approaches Bach neither with reverence nor nostalgia. Instead, it recognizes that the structural principles underlying his music remain fertile ground for experimentation. Through Ambient, Dub Techno, Minimalism, and the remarkable contributions of Frithjof-Martin Grabner, AMAS transforms those principles into something profoundly contemporary. An ambitious, deeply immersive, and quietly avant-garde work that rewards patient listening with uncommon depth.

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Fer Torres – Partner en Viaje [SHURIKEN 手裏剣]

Born in Córdoba, Argentina, Fer Torres has developed a sonic identity rooted in the deeper territories of house music. His productions unfold through precise structures, restrained grooves, and a distinctive sensitivity for creating atmospheres that reveal themselves gradually. Depth, in his work, emerges not simply from density but from the way each sound interacts with the space and time surrounding it.

His latest release arrives via SHURIKEN 手裏剣, a Buenos Aires-based label guided by a compelling principle. The discovery of hidden rhythms. Sounds waiting to be uncovered, frequencies that reveal their full character only when placed in the right environment.

https://clubfuries.com.mx/2025/03/18/cfp-ivo-reiderman-the-source-shuriken/

Partner en Viaje brings together three original compositions — From a Distance, Xtrx Mxxd, and Partner en Viaje — alongside a remix of the title track by Gus Bonani. It is this original version that captures our attention for today’s Premiere.

From the outset, Partner en Viaje moves with remarkable restraint. The track emerges from a carefully shaded darkness, avoiding dramatic gestures in favour of subtle development. Individual sounds appear almost hesitantly, like isolated signals searching for connection before forming a shared direction. The sensation recalls walking through a landscape illuminated only by distant flickers of light. Fireflies suspended in the night. Fragile points of brightness capable of completely altering one’s perception of the surrounding space.

https://soundcloud.com/clubfuriess/sfs-fer-torres-partner-en-viaje-shkn007

As the composition unfolds, that initial darkness gradually acquires warmth. Rhythmic elements begin to interlock with quiet confidence, allowing the track to breathe while maintaining a steady internal momentum. Each layer seems designed to support the next, creating movement that never feels forced or imposed. There is something deeply tactile about the way Fer Torres handles texture. The grooves feel velvety and fluid, almost organic in their movement. Rather than occupying space aggressively, they move through it gently, reshaping the environment from within and generating a powerful sense of intimacy.

The warmth running through the track avoids obvious nostalgia. Instead, it emerges from the meeting of different temporalities. Emotional echoes from somewhere familiar coexist with a distinctly contemporary production style, precise in its details and confident in its use of space. This balance is precisely where Partner en Viaje finds its strength. Between contemplation and motion. Between intimacy and openness. Between memory and the present moment.

By the time the track reaches its fullest expression, it no longer feels like a journey toward a destination. It becomes a companion. A steady presence moving alongside the listener, synchronising thought, emotion, and rhythm into the same flowing current. Like certain journeys that continue resonating long after they have ended.

Label: SHURIKEN – 手裏剣
Artist: Fer Torres
Title: Partner en Viaje
Catalogue: SHKN007
Format: Digital
Mastering: Dani Labb
Artwork: Guido Jg
Illustration: Caro Crisis

Release Date: June 6, 2026
Support & Buy: Bandcamp

Tracklist
1. From a distance
2. Xtrx Mxxd
3. Partner en Viaje
4. Partner en Viaje (Gus Bonani Remix)

Fer Torres

SoundCloud | Instagram | Bandcamp | Linktree | Date Lab

SHURIKEN 手裏剣

SoundCloud | Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Fer Torres – Partner en Viaje [SHURIKEN 手裏剣]

Born in Córdoba, Argentina, Fer Torres has developed a sonic identity rooted in the deeper territories of house music. His productions unfold through precise structures, restrained grooves, and a distinctive sensitivity for creating atmospheres that reveal themselves gradually. Depth, in his work, emerges not simply from density but from the way each sound interacts with the space and time surrounding it.

His latest release arrives via SHURIKEN 手裏剣, a Buenos Aires-based label guided by a compelling principle. The discovery of hidden rhythms. Sounds waiting to be uncovered, frequencies that reveal their full character only when placed in the right environment.

https://clubfuries.com.mx/2025/03/18/cfp-ivo-reiderman-the-source-shuriken/

Partner en Viaje brings together three original compositions — From a Distance, Xtrx Mxxd, and Partner en Viaje — alongside a remix of the title track by Gus Bonani. It is this original version that captures our attention for today’s Premiere.

From the outset, Partner en Viaje moves with remarkable restraint. The track emerges from a carefully shaded darkness, avoiding dramatic gestures in favour of subtle development. Individual sounds appear almost hesitantly, like isolated signals searching for connection before forming a shared direction. The sensation recalls walking through a landscape illuminated only by distant flickers of light. Fireflies suspended in the night. Fragile points of brightness capable of completely altering one’s perception of the surrounding space.

https://soundcloud.com/clubfuriess/sfs-fer-torres-partner-en-viaje-shkn007

As the composition unfolds, that initial darkness gradually acquires warmth. Rhythmic elements begin to interlock with quiet confidence, allowing the track to breathe while maintaining a steady internal momentum. Each layer seems designed to support the next, creating movement that never feels forced or imposed. There is something deeply tactile about the way Fer Torres handles texture. The grooves feel velvety and fluid, almost organic in their movement. Rather than occupying space aggressively, they move through it gently, reshaping the environment from within and generating a powerful sense of intimacy.

The warmth running through the track avoids obvious nostalgia. Instead, it emerges from the meeting of different temporalities. Emotional echoes from somewhere familiar coexist with a distinctly contemporary production style, precise in its details and confident in its use of space. This balance is precisely where Partner en Viaje finds its strength. Between contemplation and motion. Between intimacy and openness. Between memory and the present moment.

By the time the track reaches its fullest expression, it no longer feels like a journey toward a destination. It becomes a companion. A steady presence moving alongside the listener, synchronising thought, emotion, and rhythm into the same flowing current. Like certain journeys that continue resonating long after they have ended.

Label: SHURIKEN – 手裏剣
Artist: Fer Torres
Title: Partner en Viaje
Catalogue: SHKN007
Format: Digital
Mastering: Dani Labb
Artwork: Guido Jg
Illustration: Caro Crisis

Release Date: June 6, 2026
Support & Buy: Bandcamp

Tracklist
1. From a distance
2. Xtrx Mxxd
3. Partner en Viaje
4. Partner en Viaje (Gus Bonani Remix)

Fer Torres

SoundCloud | Instagram | Bandcamp | Linktree | Date Lab

SHURIKEN 手裏剣

SoundCloud | Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: The Lost Boys – Against Infinity [Subsist Records]

Five years ago, Raszia, better known as The Lost Boys, released one of those rare tracks that continues to resonate long after its initial impact. A piece that not only became a lasting favourite of ours, but one that we also had the privilege of presenting as a Premiere. Since then, his artistic trajectory has remained remarkably consistent, evolving beyond familiar formulas while steadily refining a singular sonic identity.

Now he returns to Subsist Records with his second full-length album for the label, further developing a vision in which electro and breaks operate less as genres and more as evolving languages. Acid sequences, IDM-inflected textures, and melodic passages weave throughout the record, creating a space where dancefloor energy coexists with a deeply introspective sensibility.

https://clubfuries.com.mx/2021/04/28/premiere-cf-the-lost-boys-orbital-mirror-hxagrm-records/

Across the album, fragmented rhythms and electronic architectures unfold through constantly shifting forms. Moments of direct propulsion sit alongside passages that seem to pause and reflect upon themselves. That ability to balance movement and contemplation remains one of the defining qualities of The Lost Boys’ work.

Within this broader journey, Against Infinity occupies a pivotal role. Not simply because it opens the album, but because it introduces many of the ideas that continue to echo throughout the record. It functions as both a sonic and conceptual threshold, offering the first glimpse into the world Raszia constructs across the release.

https://clubfuries.com.mx/2026/05/22/cfp-pont-no-time-subsist-282d/

From its opening moments, the track establishes an atmosphere that resists simple emotional categorisation. There is nostalgia, though not tied to any particular memory. There is melancholy, though never enough to become burdensome. Above all, there is a sense of continuous expansion, as though each new layer extends the boundaries of perception a little further.

The pads unfold with an almost weightless quality, generating a spacious environment where time itself appears to slow. Beneath them, rhythmic sequences maintain a steady sense of motion, preventing the composition from drifting entirely into abstraction. Between these forces emerges a compelling tension. The desire to move forward and the impulse to remain suspended.

What makes Against Infinity especially compelling is its ability to unite elements that might otherwise feel disconnected. Electro, breaks, acid, and more abstract influences converge without competing for attention. Each retains its own identity while contributing to a larger structure that continuously redefines their relationships.

https://soundcloud.com/clubfuriess/cfs-the-lost-boys-subsist-283d

It feels like a form of unity built through difference. A meeting point where seemingly incompatible elements discover new ways of coexisting. This is not simply eclecticism. The real achievement lies in how naturally Raszia weaves these distinct languages into a coherent whole, transforming diversity into cohesion.

As the track progresses, the sense of infinity suggested by its title begins to take on a tangible presence. Not as an abstract concept, but as a perceptual experience. Time ceases to feel linear. Past, present, and future collapse into the same current of sound, creating a listening experience that extends beyond its own duration.

Perhaps this is one of the reasons we continue returning to the work of The Lost Boys. Beyond the technical precision, beyond the sound design and rhythmic mastery, there remains something increasingly rare. A capacity to transform electronic music into a space where emotion and exploration continue to meet.

Label: Subsist Records
Artist: The Lost Boys
Title: Against infinity
Catalogue: SUBSIST.283D
Artwork by Malasombra
Mastering by The Lost Boys

Release Date: June 9, 2026
Support & Buy: Bandcamp

«Sound Expression Against World Pressure»

Tracklist
1. Against Infinity
2. Close contact with the Last station
3. Compulsive Subsonics
4. Dying of The Light
5. Galactography
6. Inscribed on metal
7. Satellite Five
8. Triplanetary

The Lost Boys

SoundCloud | Facebook | Raszia

Subsist Records 

SoundCloud | Instagram | Facebook | Bandcamp | Formaviva | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: The Lost Boys – Against Infinity [Subsist Records]

Five years ago, Raszia, better known as The Lost Boys, released one of those rare tracks that continues to resonate long after its initial impact. A piece that not only became a lasting favourite of ours, but one that we also had the privilege of presenting as a Premiere. Since then, his artistic trajectory has remained remarkably consistent, evolving beyond familiar formulas while steadily refining a singular sonic identity.

Now he returns to Subsist Records with his second full-length album for the label, further developing a vision in which electro and breaks operate less as genres and more as evolving languages. Acid sequences, IDM-inflected textures, and melodic passages weave throughout the record, creating a space where dancefloor energy coexists with a deeply introspective sensibility.

https://clubfuries.com.mx/2021/04/28/premiere-cf-the-lost-boys-orbital-mirror-hxagrm-records/

Across the album, fragmented rhythms and electronic architectures unfold through constantly shifting forms. Moments of direct propulsion sit alongside passages that seem to pause and reflect upon themselves. That ability to balance movement and contemplation remains one of the defining qualities of The Lost Boys’ work.

Within this broader journey, Against Infinity occupies a pivotal role. Not simply because it opens the album, but because it introduces many of the ideas that continue to echo throughout the record. It functions as both a sonic and conceptual threshold, offering the first glimpse into the world Raszia constructs across the release.

https://clubfuries.com.mx/2026/05/22/cfp-pont-no-time-subsist-282d/

From its opening moments, the track establishes an atmosphere that resists simple emotional categorisation. There is nostalgia, though not tied to any particular memory. There is melancholy, though never enough to become burdensome. Above all, there is a sense of continuous expansion, as though each new layer extends the boundaries of perception a little further.

The pads unfold with an almost weightless quality, generating a spacious environment where time itself appears to slow. Beneath them, rhythmic sequences maintain a steady sense of motion, preventing the composition from drifting entirely into abstraction. Between these forces emerges a compelling tension. The desire to move forward and the impulse to remain suspended.

What makes Against Infinity especially compelling is its ability to unite elements that might otherwise feel disconnected. Electro, breaks, acid, and more abstract influences converge without competing for attention. Each retains its own identity while contributing to a larger structure that continuously redefines their relationships.

https://soundcloud.com/clubfuriess/cfs-the-lost-boys-subsist-283d

It feels like a form of unity built through difference. A meeting point where seemingly incompatible elements discover new ways of coexisting. This is not simply eclecticism. The real achievement lies in how naturally Raszia weaves these distinct languages into a coherent whole, transforming diversity into cohesion.

As the track progresses, the sense of infinity suggested by its title begins to take on a tangible presence. Not as an abstract concept, but as a perceptual experience. Time ceases to feel linear. Past, present, and future collapse into the same current of sound, creating a listening experience that extends beyond its own duration.

Perhaps this is one of the reasons we continue returning to the work of The Lost Boys. Beyond the technical precision, beyond the sound design and rhythmic mastery, there remains something increasingly rare. A capacity to transform electronic music into a space where emotion and exploration continue to meet.

Label: Subsist Records
Artist: The Lost Boys
Title: Against infinity
Catalogue: SUBSIST.283D
Artwork by Malasombra
Mastering by The Lost Boys

Release Date: June 9, 2026
Support & Buy: Bandcamp

«Sound Expression Against World Pressure»

Tracklist
1. Against Infinity
2. Close contact with the Last station
3. Compulsive Subsonics
4. Dying of The Light
5. Galactography
6. Inscribed on metal
7. Satellite Five
8. Triplanetary

The Lost Boys

SoundCloud | Facebook | Raszia

Subsist Records 

SoundCloud | Instagram | Facebook | Bandcamp | Formaviva | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: AMAS & Frithjof-Martin Grabner – VERNUNFT [AMAS Studio]

What happens when Johann Sebastian Bach’s mathematical architecture is removed from its historical setting and projected into the language of contemporary electronic music? What remains when the structures survive, yet the materials themselves are transformed?

With SRDNG x LPZG, AMAS and double bassist Frithjof-Martin Grabner venture into precisely that territory. This is not a reinterpretation of Bach, nor an attempt to modernise his work for contemporary audiences. The project operates on a deeper level. It extracts the internal logic of his compositions—their proportions, movements, and rhythmic relationships—and rebuilds them through the frameworks of minimalism, dub techno, and ambient music.

Developed over three years between two radically different environments, the album inhabits a unique temporal space. Sardinia contributes its rugged isolation and expansive landscapes. Leipzig brings centuries of musical tradition and intellectual precision. The resulting work feels suspended between eras, compressing multiple histories into a single sonic continuum.

The process began in Pula, at the southern edge of Sardinia. There, AMAS digitally isolated and deconstructed rhythmic and tonal fragments from fourteen selected Bach compositions. Rather than functioning as quotations or references, these fragments were dismantled and reorganised until they became entirely new entities. Field recordings captured across the surrounding landscape were woven into the electronic framework, allowing environmental textures to merge with hypnotic pulses, microscopic repetitions, and slowly evolving structures.

Back in Leipzig, the project gained a new dimension through the involvement of Frithjof-Martin Grabner. The double bass does not sit on top of the electronic foundation. Instead, it reshapes it from within. Wood, resonance, and physical vibration introduce a different sense of time altogether, bringing a corporeal memory into dialogue with the precision of digital processes.

Following our first premiere from the album, CHAOS, it was already clear that this project operated according to its own internal logic. With VERNUNFT, that vision becomes even more fully articulated.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

The title translates as «reason,» yet within the German philosophical tradition the concept carries far greater complexity. It evokes systems of understanding, frameworks of order, and the intellectual foundations of modernity itself. Listening to VERNUNFT, those historical echoes become impossible to ignore. Not because the track seeks to illustrate philosophical ideas, but because its structure continuously raises questions about what happens when rational forms migrate across different technologies and historical moments.

What makes the piece so compelling is its complete refusal of nostalgia. Bach is not treated as a monument preserved behind glass. His legacy appears here as living material, capable of mutation and reinvention. The modernity he once embodied is activated once again, this time through contemporary sonic languages.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-vernunft-amas006

At certain moments, the listening experience recalls the vision of Luigi Russolo, who imagined a future in which music would absorb the sounds of industrial transformation. More than a century later, that tension remains unresolved. Machines no longer arrive from outside. They exist within the very fabric of musical production, shaping perception, memory, and our experience of time itself.

VERNUNFT occupies that meeting point. A place where centuries-old compositional discipline and contemporary technology engage in genuine dialogue, neither one dominating the other. The result belongs entirely to neither classical music nor electronic music. Instead, it inhabits a fertile territory between categories, where forms continue to evolve and definitions begin to dissolve.

And this is only the beginning of the journey.

https://bandcamp.com/EmbeddedPlayer/album=613141444/size=large/bgcol=ffffff/linkcol=333333/tracklist=false/artwork=small/transparent=true

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: AMAS & Frithjof-Martin Grabner – VERNUNFT [AMAS Studio]

What happens when Johann Sebastian Bach’s mathematical architecture is removed from its historical setting and projected into the language of contemporary electronic music? What remains when the structures survive, yet the materials themselves are transformed?

With SRDNG x LPZG, AMAS and double bassist Frithjof-Martin Grabner venture into precisely that territory. This is not a reinterpretation of Bach, nor an attempt to modernise his work for contemporary audiences. The project operates on a deeper level. It extracts the internal logic of his compositions—their proportions, movements, and rhythmic relationships—and rebuilds them through the frameworks of minimalism, dub techno, and ambient music.

Developed over three years between two radically different environments, the album inhabits a unique temporal space. Sardinia contributes its rugged isolation and expansive landscapes. Leipzig brings centuries of musical tradition and intellectual precision. The resulting work feels suspended between eras, compressing multiple histories into a single sonic continuum.

The process began in Pula, at the southern edge of Sardinia. There, AMAS digitally isolated and deconstructed rhythmic and tonal fragments from fourteen selected Bach compositions. Rather than functioning as quotations or references, these fragments were dismantled and reorganised until they became entirely new entities. Field recordings captured across the surrounding landscape were woven into the electronic framework, allowing environmental textures to merge with hypnotic pulses, microscopic repetitions, and slowly evolving structures.

Back in Leipzig, the project gained a new dimension through the involvement of Frithjof-Martin Grabner. The double bass does not sit on top of the electronic foundation. Instead, it reshapes it from within. Wood, resonance, and physical vibration introduce a different sense of time altogether, bringing a corporeal memory into dialogue with the precision of digital processes.

Following our first premiere from the album, CHAOS, it was already clear that this project operated according to its own internal logic. With VERNUNFT, that vision becomes even more fully articulated.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

The title translates as «reason,» yet within the German philosophical tradition the concept carries far greater complexity. It evokes systems of understanding, frameworks of order, and the intellectual foundations of modernity itself. Listening to VERNUNFT, those historical echoes become impossible to ignore. Not because the track seeks to illustrate philosophical ideas, but because its structure continuously raises questions about what happens when rational forms migrate across different technologies and historical moments.

What makes the piece so compelling is its complete refusal of nostalgia. Bach is not treated as a monument preserved behind glass. His legacy appears here as living material, capable of mutation and reinvention. The modernity he once embodied is activated once again, this time through contemporary sonic languages.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-vernunft-amas006

At certain moments, the listening experience recalls the vision of Luigi Russolo, who imagined a future in which music would absorb the sounds of industrial transformation. More than a century later, that tension remains unresolved. Machines no longer arrive from outside. They exist within the very fabric of musical production, shaping perception, memory, and our experience of time itself.

VERNUNFT occupies that meeting point. A place where centuries-old compositional discipline and contemporary technology engage in genuine dialogue, neither one dominating the other. The result belongs entirely to neither classical music nor electronic music. Instead, it inhabits a fertile territory between categories, where forms continue to evolve and definitions begin to dissolve.

And this is only the beginning of the journey.

https://bandcamp.com/EmbeddedPlayer/album=613141444/size=large/bgcol=ffffff/linkcol=333333/tracklist=false/artwork=small/transparent=true

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

Club Furies Mix Series: Cintas Furiosas Present cat can do

cat can do, the Canadian-born producer and DJ now based in Alicante, Spain, develops a sound where Acid sequences, live electro impulses, and echoes of emotional Detroit Techno converge into a deeply immersive sonic language. Since his recording debut in 2023, he has rapidly expanded his presence through releases on labels such as Diffuse Reality, Lett Records, Basse-cour, TUG Wave, and Insane Industry Recordings, shaping an identity rooted in physical energy, improvisation, and atmospheric sensitivity.

https://clubfuries.com.mx/2026/04/04/cfp-cat-can-do-carara-our-perception-drss1375/

His music operates through a logic that feels intensely physical without ever becoming linear or predictable. Grooves unfold through dense textures, acidic movements, and dreamlike soundscapes that seem to emerge slowly from beneath the surface of the mix. There is something profoundly human in the way the sound breathes and transforms: microscopic tensions, emotional layering, and subtle deviations that make each track feel as though it is discovering itself in real time. Here, rhythm is more than just propulsion for the dancefloor — it transforms into a form of moving thought.

That same approach defines his work as a DJ. From his earliest performances in Vancouver to a recent four-hour set in Barcelona curated by Squaric of Diffuse Reality, cat can do has cultivated a practice where mixing and live interpretation become part of the same creative process. The decision to build long-form sessions entirely from original material reinforces a unique relationship with time itself: extended transitions, progressive tension, and a continuous sensation of movement between mental and physical states.

Our mix series is called Cintas Furiosas — Furious Tapes. The concept draws inspiration from the Baseball Furies, the cult gang from The Warriors, and from Imperator Furiosa, the central figure of Mad Max: Fury Road and Furiosa: A Mad Max Saga. Both references converge around the same idea: intensity, displacement, and energy held in permanent tension. Each edition functions as a tape projecting a different kind of “furious sound” depending on the invited artist, expanding the concept toward new textures, velocities, and emotional states. This time, that fury takes on a particularly fluid and magnetic form through cat can do.

https://soundcloud.com/clubfuriess/cfmx-cf-present-cat-can-do

When I listened to the mix prepared for Furious Tapes, I couldn’t help thinking — perhaps through a completely personal association — about artistic processes where improvisation and structure stop existing as opposites. As if synthesizers, drum machines, and sequencers had somehow replaced oils, brushes, and old theories of harmony and octaves. Rather than serving as a substitution, it acts as a material continuation of the same creative impulse.

Because something defines cat can do’s work: the sensation that the sound is simultaneously being imagined and discovered as it unfolds. Layers emerge, collide, and dissolve with a strange naturalness, as though the set itself were breathing autonomously. Luminous Acid, fractured grooves, electro pulses, and expansive atmospheres intertwine inside a narrative that never fully settles into place. Every transition opens new perceptual possibilities, slowly redirecting the journey toward unexpected territories.

https://clubfuries.com.mx/2025/08/04/cfr-2025-9-cat-cat-can-do-detroit-knows-lett-records/

More than a conventional DJ session, this Furious Tape becomes a window into the way cat can do conceptualizes movement, improvisation, and sonic space itself. A hypnotic current where machines and human sensitivity no longer oppose each other, but instead operate within the same electric, emotional, and deeply living flow.

https://clubfuries.com.mx/2025/04/02/cfr-2025-5-cat-can-do-presents-acid-ave-by-insane-industry-recordings/

Artist: can can do
Country: Canada / Spain (Alicante)
Technical requirements: Two CDJs.

Upcoming gigs:
– July 25th – Sunny High Club – Stuttgart, Germany
– July 31st – Deep South Trip – Sougia, Crete, Greece

Tracklist
1. Unreleased
2. In motion – In motion – Lett Records
3. Unreleased
4. Unreleased
5. Unreleased
6. Unreleased
7. Unreleased
8. Unreleased
9. Unreleased
10. Chord stutter – ACID AVE. – Insane Industry
11. Unreleased
12. M1 – M SERIES Vol. 2 – Diffuse Reality
13. departure – Alaska II – Diffuse Reality
14. Catsefrenik – Mad guys – Diffuse Reality
15. how peacocks kiss – Alaska II – Diffuse Reality

cat can do

SoundCloud | Instagram | Facebook

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

Club Furies Mix Series: Cintas Furiosas Present cat can do

cat can do, the Canadian-born producer and DJ now based in Alicante, Spain, develops a sound where Acid sequences, live electro impulses, and echoes of emotional Detroit Techno converge into a deeply immersive sonic language. Since his recording debut in 2023, he has rapidly expanded his presence through releases on labels such as Diffuse Reality, Lett Records, Basse-cour, TUG Wave, and Insane Industry Recordings, shaping an identity rooted in physical energy, improvisation, and atmospheric sensitivity.

https://clubfuries.com.mx/2026/04/04/cfp-cat-can-do-carara-our-perception-drss1375/

His music operates through a logic that feels intensely physical without ever becoming linear or predictable. Grooves unfold through dense textures, acidic movements, and dreamlike soundscapes that seem to emerge slowly from beneath the surface of the mix. There is something profoundly human in the way the sound breathes and transforms: microscopic tensions, emotional layering, and subtle deviations that make each track feel as though it is discovering itself in real time. Here, rhythm is more than just propulsion for the dancefloor — it transforms into a form of moving thought.

That same approach defines his work as a DJ. From his earliest performances in Vancouver to a recent four-hour set in Barcelona curated by Squaric of Diffuse Reality, cat can do has cultivated a practice where mixing and live interpretation become part of the same creative process. The decision to build long-form sessions entirely from original material reinforces a unique relationship with time itself: extended transitions, progressive tension, and a continuous sensation of movement between mental and physical states.

Our mix series is called Cintas Furiosas — Furious Tapes. The concept draws inspiration from the Baseball Furies, the cult gang from The Warriors, and from Imperator Furiosa, the central figure of Mad Max: Fury Road and Furiosa: A Mad Max Saga. Both references converge around the same idea: intensity, displacement, and energy held in permanent tension. Each edition functions as a tape projecting a different kind of “furious sound” depending on the invited artist, expanding the concept toward new textures, velocities, and emotional states. This time, that fury takes on a particularly fluid and magnetic form through cat can do.

https://soundcloud.com/clubfuriess/cfmx-cf-present-cat-can-do

When I listened to the mix prepared for Furious Tapes, I couldn’t help thinking — perhaps through a completely personal association — about artistic processes where improvisation and structure stop existing as opposites. As if synthesizers, drum machines, and sequencers had somehow replaced oils, brushes, and old theories of harmony and octaves. Rather than serving as a substitution, it acts as a material continuation of the same creative impulse.

Because something defines cat can do’s work: the sensation that the sound is simultaneously being imagined and discovered as it unfolds. Layers emerge, collide, and dissolve with a strange naturalness, as though the set itself were breathing autonomously. Luminous Acid, fractured grooves, electro pulses, and expansive atmospheres intertwine inside a narrative that never fully settles into place. Every transition opens new perceptual possibilities, slowly redirecting the journey toward unexpected territories.

https://clubfuries.com.mx/2025/08/04/cfr-2025-9-cat-cat-can-do-detroit-knows-lett-records/

More than a conventional DJ session, this Furious Tape becomes a window into the way cat can do conceptualizes movement, improvisation, and sonic space itself. A hypnotic current where machines and human sensitivity no longer oppose each other, but instead operate within the same electric, emotional, and deeply living flow.

https://clubfuries.com.mx/2025/04/02/cfr-2025-5-cat-can-do-presents-acid-ave-by-insane-industry-recordings/

Artist: can can do
Country: Canada / Spain (Alicante)
Technical requirements: Two CDJs.

Upcoming gigs:
– July 25th – Sunny High Club – Stuttgart, Germany
– July 31st – Deep South Trip – Sougia, Crete, Greece

Tracklist
1. Unreleased
2. In motion – In motion – Lett Records
3. Unreleased
4. Unreleased
5. Unreleased
6. Unreleased
7. Unreleased
8. Unreleased
9. Unreleased
10. Chord stutter – ACID AVE. – Insane Industry
11. Unreleased
12. M1 – M SERIES Vol. 2 – Diffuse Reality
13. departure – Alaska II – Diffuse Reality
14. Catsefrenik – Mad guys – Diffuse Reality
15. how peacocks kiss – Alaska II – Diffuse Reality

cat can do

SoundCloud | Instagram | Facebook

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

Club Furies Mix Series: Cintas Furiosas Present cat can do

cat can do, the Canadian-born producer and DJ now based in Alicante, Spain, develops a sound where Acid sequences, live electro impulses, and echoes of emotional Detroit Techno converge into a deeply immersive sonic language. Since his recording debut in 2023, he has rapidly expanded his presence through releases on labels such as Diffuse Reality, Lett Records, Basse-cour, TUG Wave, and Insane Industry Recordings, shaping an identity rooted in physical energy, improvisation, and atmospheric sensitivity.

https://clubfuries.com.mx/2026/04/04/cfp-cat-can-do-carara-our-perception-drss1375/

His music operates through a logic that feels intensely physical without ever becoming linear or predictable. Grooves unfold through dense textures, acidic movements, and dreamlike soundscapes that seem to emerge slowly from beneath the surface of the mix. There is something profoundly human in the way the sound breathes and transforms: microscopic tensions, emotional layering, and subtle deviations that make each track feel as though it is discovering itself in real time. Here, rhythm is more than just propulsion for the dancefloor — it transforms into a form of moving thought.

That same approach defines his work as a DJ. From his earliest performances in Vancouver to a recent four-hour set in Barcelona curated by Squaric of Diffuse Reality, cat can do has cultivated a practice where mixing and live interpretation become part of the same creative process. The decision to build long-form sessions entirely from original material reinforces a unique relationship with time itself: extended transitions, progressive tension, and a continuous sensation of movement between mental and physical states.

Our mix series is called Cintas Furiosas — Furious Tapes. The concept draws inspiration from the Baseball Furies, the cult gang from The Warriors, and from Imperator Furiosa, the central figure of Mad Max: Fury Road and Furiosa: A Mad Max Saga. Both references converge around the same idea: intensity, displacement, and energy held in permanent tension. Each edition functions as a tape projecting a different kind of “furious sound” depending on the invited artist, expanding the concept toward new textures, velocities, and emotional states. This time, that fury takes on a particularly fluid and magnetic form through cat can do.

https://soundcloud.com/clubfuriess/cfmx-cf-present-cat-can-do

When I listened to the mix prepared for Furious Tapes, I couldn’t help thinking — perhaps through a completely personal association — about artistic processes where improvisation and structure stop existing as opposites. As if synthesizers, drum machines, and sequencers had somehow replaced oils, brushes, and old theories of harmony and octaves. Rather than serving as a substitution, it acts as a material continuation of the same creative impulse.

Because something defines cat can do’s work: the sensation that the sound is simultaneously being imagined and discovered as it unfolds. Layers emerge, collide, and dissolve with a strange naturalness, as though the set itself were breathing autonomously. Luminous Acid, fractured grooves, electro pulses, and expansive atmospheres intertwine inside a narrative that never fully settles into place. Every transition opens new perceptual possibilities, slowly redirecting the journey toward unexpected territories.

https://clubfuries.com.mx/2025/08/04/cfr-2025-9-cat-cat-can-do-detroit-knows-lett-records/

More than a conventional DJ session, this Furious Tape becomes a window into the way cat can do conceptualizes movement, improvisation, and sonic space itself. A hypnotic current where machines and human sensitivity no longer oppose each other, but instead operate within the same electric, emotional, and deeply living flow.

https://clubfuries.com.mx/2025/04/02/cfr-2025-5-cat-can-do-presents-acid-ave-by-insane-industry-recordings/

Artist: can can do
Country: Canada / Spain (Alicante)
Technical requirements: Two CDJs.

Upcoming gigs:
– July 25th – Sunny High Club – Stuttgart, Germany
– July 31st – Deep South Trip – Sougia, Crete, Greece

Tracklist
1. Unreleased
2. In motion – In motion – Lett Records
3. Unreleased
4. Unreleased
5. Unreleased
6. Unreleased
7. Unreleased
8. Unreleased
9. Unreleased
10. Chord stutter – ACID AVE. – Insane Industry
11. Unreleased
12. M1 – M SERIES Vol. 2 – Diffuse Reality
13. departure – Alaska II – Diffuse Reality
14. Catsefrenik – Mad guys – Diffuse Reality
15. how peacocks kiss – Alaska II – Diffuse Reality

cat can do

SoundCloud | Instagram | Facebook

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

Club Furies Mix Series: Cintas Furiosas Present cat can do

cat can do, the Canadian-born producer and DJ now based in Alicante, Spain, develops a sound where Acid sequences, live electro impulses, and echoes of emotional Detroit Techno converge into a deeply immersive sonic language. Since his recording debut in 2023, he has rapidly expanded his presence through releases on labels such as Diffuse Reality, Lett Records, Basse-cour, TUG Wave, and Insane Industry Recordings, shaping an identity rooted in physical energy, improvisation, and atmospheric sensitivity.

https://clubfuries.com.mx/2026/04/04/cfp-cat-can-do-carara-our-perception-drss1375/

His music operates through a logic that feels intensely physical without ever becoming linear or predictable. Grooves unfold through dense textures, acidic movements, and dreamlike soundscapes that seem to emerge slowly from beneath the surface of the mix. There is something profoundly human in the way the sound breathes and transforms: microscopic tensions, emotional layering, and subtle deviations that make each track feel as though it is discovering itself in real time. Here, rhythm is more than just propulsion for the dancefloor — it transforms into a form of moving thought.

That same approach defines his work as a DJ. From his earliest performances in Vancouver to a recent four-hour set in Barcelona curated by Squaric of Diffuse Reality, cat can do has cultivated a practice where mixing and live interpretation become part of the same creative process. The decision to build long-form sessions entirely from original material reinforces a unique relationship with time itself: extended transitions, progressive tension, and a continuous sensation of movement between mental and physical states.

Our mix series is called Cintas Furiosas — Furious Tapes. The concept draws inspiration from the Baseball Furies, the cult gang from The Warriors, and from Imperator Furiosa, the central figure of Mad Max: Fury Road and Furiosa: A Mad Max Saga. Both references converge around the same idea: intensity, displacement, and energy held in permanent tension. Each edition functions as a tape projecting a different kind of “furious sound” depending on the invited artist, expanding the concept toward new textures, velocities, and emotional states. This time, that fury takes on a particularly fluid and magnetic form through cat can do.

https://soundcloud.com/clubfuriess/cfmx-cf-present-cat-can-do

When I listened to the mix prepared for Furious Tapes, I couldn’t help thinking — perhaps through a completely personal association — about artistic processes where improvisation and structure stop existing as opposites. As if synthesizers, drum machines, and sequencers had somehow replaced oils, brushes, and old theories of harmony and octaves. Rather than serving as a substitution, it acts as a material continuation of the same creative impulse.

Because something defines cat can do’s work: the sensation that the sound is simultaneously being imagined and discovered as it unfolds. Layers emerge, collide, and dissolve with a strange naturalness, as though the set itself were breathing autonomously. Luminous Acid, fractured grooves, electro pulses, and expansive atmospheres intertwine inside a narrative that never fully settles into place. Every transition opens new perceptual possibilities, slowly redirecting the journey toward unexpected territories.

https://clubfuries.com.mx/2025/08/04/cfr-2025-9-cat-cat-can-do-detroit-knows-lett-records/

More than a conventional DJ session, this Furious Tape becomes a window into the way cat can do conceptualizes movement, improvisation, and sonic space itself. A hypnotic current where machines and human sensitivity no longer oppose each other, but instead operate within the same electric, emotional, and deeply living flow.

https://clubfuries.com.mx/2025/04/02/cfr-2025-5-cat-can-do-presents-acid-ave-by-insane-industry-recordings/

Artist: can can do
Country: Canada / Spain (Alicante)
Technical requirements: Two CDJs.

Upcoming gigs:
– July 25th – Sunny High Club – Stuttgart, Germany
– July 31st – Deep South Trip – Sougia, Crete, Greece

Tracklist
1. Unreleased
2. In motion – In motion – Lett Records
3. Unreleased
4. Unreleased
5. Unreleased
6. Unreleased
7. Unreleased
8. Unreleased
9. Unreleased
10. Chord stutter – ACID AVE. – Insane Industry
11. Unreleased
12. M1 – M SERIES Vol. 2 – Diffuse Reality
13. departure – Alaska II – Diffuse Reality
14. Catsefrenik – Mad guys – Diffuse Reality
15. how peacocks kiss – Alaska II – Diffuse Reality

cat can do

SoundCloud | Instagram | Facebook

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

Club Furies Mix Series: Cintas Furiosas Present cat can do

cat can do, the Canadian-born producer and DJ now based in Alicante, Spain, develops a sound where Acid sequences, live electro impulses, and echoes of emotional Detroit Techno converge into a deeply immersive sonic language. Since his recording debut in 2023, he has rapidly expanded his presence through releases on labels such as Diffuse Reality, Lett Records, Basse-cour, TUG Wave, and Insane Industry Recordings, shaping an identity rooted in physical energy, improvisation, and atmospheric sensitivity.

https://clubfuries.com.mx/2026/04/04/cfp-cat-can-do-carara-our-perception-drss1375/

His music operates through a logic that feels intensely physical without ever becoming linear or predictable. Grooves unfold through dense textures, acidic movements, and dreamlike soundscapes that seem to emerge slowly from beneath the surface of the mix. There is something profoundly human in the way the sound breathes and transforms: microscopic tensions, emotional layering, and subtle deviations that make each track feel as though it is discovering itself in real time. Here, rhythm is more than just propulsion for the dancefloor — it transforms into a form of moving thought.

That same approach defines his work as a DJ. From his earliest performances in Vancouver to a recent four-hour set in Barcelona curated by Squaric of Diffuse Reality, cat can do has cultivated a practice where mixing and live interpretation become part of the same creative process. The decision to build long-form sessions entirely from original material reinforces a unique relationship with time itself: extended transitions, progressive tension, and a continuous sensation of movement between mental and physical states.

Our mix series is called Cintas Furiosas — Furious Tapes. The concept draws inspiration from the Baseball Furies, the cult gang from The Warriors, and from Imperator Furiosa, the central figure of Mad Max: Fury Road and Furiosa: A Mad Max Saga. Both references converge around the same idea: intensity, displacement, and energy held in permanent tension. Each edition functions as a tape projecting a different kind of “furious sound” depending on the invited artist, expanding the concept toward new textures, velocities, and emotional states. This time, that fury takes on a particularly fluid and magnetic form through cat can do.

https://soundcloud.com/clubfuriess/cfmx-cf-present-cat-can-do

When I listened to the mix prepared for Furious Tapes, I couldn’t help thinking — perhaps through a completely personal association — about artistic processes where improvisation and structure stop existing as opposites. As if synthesizers, drum machines, and sequencers had somehow replaced oils, brushes, and old theories of harmony and octaves. Rather than serving as a substitution, it acts as a material continuation of the same creative impulse.

Because something defines cat can do’s work: the sensation that the sound is simultaneously being imagined and discovered as it unfolds. Layers emerge, collide, and dissolve with a strange naturalness, as though the set itself were breathing autonomously. Luminous Acid, fractured grooves, electro pulses, and expansive atmospheres intertwine inside a narrative that never fully settles into place. Every transition opens new perceptual possibilities, slowly redirecting the journey toward unexpected territories.

https://clubfuries.com.mx/2025/08/04/cfr-2025-9-cat-cat-can-do-detroit-knows-lett-records/

More than a conventional DJ session, this Furious Tape becomes a window into the way cat can do conceptualizes movement, improvisation, and sonic space itself. A hypnotic current where machines and human sensitivity no longer oppose each other, but instead operate within the same electric, emotional, and deeply living flow.

https://clubfuries.com.mx/2025/04/02/cfr-2025-5-cat-can-do-presents-acid-ave-by-insane-industry-recordings/

Artist: can can do
Country: Canada / Spain (Alicante)
Technical requirements: Two CDJs.

Upcoming gigs:
– July 25th – Sunny High Club – Stuttgart, Germany
– July 31st – Deep South Trip – Sougia, Crete, Greece

Tracklist
1. Unreleased
2. In motion – In motion – Lett Records
3. Unreleased
4. Unreleased
5. Unreleased
6. Unreleased
7. Unreleased
8. Unreleased
9. Unreleased
10. Chord stutter – ACID AVE. – Insane Industry
11. Unreleased
12. M1 – M SERIES Vol. 2 – Diffuse Reality
13. departure – Alaska II – Diffuse Reality
14. Catsefrenik – Mad guys – Diffuse Reality
15. how peacocks kiss – Alaska II – Diffuse Reality

cat can do

SoundCloud | Instagram | Facebook

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: AMAS & Frithjof-Martin Grabner – CHAOS [AMAS Studio]

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical façade and exposed to digital decay, dub echoes, and the hypnotic repetition of contemporary minimalism? With SRDNG x LPZG, the duo AMAS, alongside double bassist Frithjof-Martin Grabner, answers that question not through academic reverence, but through radical transformation. The result is neither adaptation nor tribute: it is a sonic mutation where baroque structures slowly dissolve before re-emerging as something entirely different.

The project was shaped between two radically contrasting geographies. On one side, the rough and almost mineral isolation of Sardinia; on the other, the historical precision of Leipzig. Over the course of three years, AMAS digitally dissected rhythmic and tonal fragments from fourteen selected Bach compositions, merging them with field recordings and electronic frameworks moving through dub-techno, ambient, and experimental minimalism. Classical music stops functioning here as an untouchable monument and begins breathing instead as organic matter, eroded by machinery, memory, and landscape.

Once the project returns to Leipzig and incorporates the work of Frithjof-Martin Grabner, the album reaches an even stranger depth. The double bass does not function as ornament or nostalgic gesture; it acts like a physical shadow stretching across the entire release, constantly tightening the dialogue between tradition and electronic abstraction. The result is a sonic architecture where the human and the machinic no longer oppose each other, but gradually merge within the same perceptual current.

To put it plainly: this is a genuine work of contemporary electronic avant-garde. Not because it seeks empty sophistication, but because it accomplishes something far more difficult — creating a new language without erasing the traces of what gave birth to it. Bach never disappears; he elegantly disintegrates into dub, ambient, and minimal textures, as though entire centuries of musical history had become suspended inside a single frequency.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-amas006

Within that journey, “CHAOS” stands at the conceptual and emotional center of the album. The track operates as a structural backbone, unfolding a sonic progression that truly embodies what its title suggests. Yet chaos here is not explosive destruction; it is the constant reorganization of layers, tensions, and temporalities. Latent fragments drift through ethereal and deeply nostalgic coordinates while the front of the track advances with a dub serenity that seems to contain collapse without ever fully allowing it to happen.

Confusion becomes texture; disorder transforms into rhythmic respiration. Delicate electronic layers slowly slide over one another, generating a suspended sensation of drift where each sound feels as though it arrives from multiple timelines simultaneously. Minimal and deep elements stop functioning as genres and instead become states of perception. And somewhere inside that sonic fog, Bach continues to appear — no longer as a historical figure, but as a digital specter floating between echoes, emptiness, and repetition.

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: AMAS & Frithjof-Martin Grabner – CHAOS [AMAS Studio]

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical façade and exposed to digital decay, dub echoes, and the hypnotic repetition of contemporary minimalism? With SRDNG x LPZG, the duo AMAS, alongside double bassist Frithjof-Martin Grabner, answers that question not through academic reverence, but through radical transformation. The result is neither adaptation nor tribute: it is a sonic mutation where baroque structures slowly dissolve before re-emerging as something entirely different.

The project was shaped between two radically contrasting geographies. On one side, the rough and almost mineral isolation of Sardinia; on the other, the historical precision of Leipzig. Over the course of three years, AMAS digitally dissected rhythmic and tonal fragments from fourteen selected Bach compositions, merging them with field recordings and electronic frameworks moving through dub-techno, ambient, and experimental minimalism. Classical music stops functioning here as an untouchable monument and begins breathing instead as organic matter, eroded by machinery, memory, and landscape.

Once the project returns to Leipzig and incorporates the work of Frithjof-Martin Grabner, the album reaches an even stranger depth. The double bass does not function as ornament or nostalgic gesture; it acts like a physical shadow stretching across the entire release, constantly tightening the dialogue between tradition and electronic abstraction. The result is a sonic architecture where the human and the machinic no longer oppose each other, but gradually merge within the same perceptual current.

To put it plainly: this is a genuine work of contemporary electronic avant-garde. Not because it seeks empty sophistication, but because it accomplishes something far more difficult — creating a new language without erasing the traces of what gave birth to it. Bach never disappears; he elegantly disintegrates into dub, ambient, and minimal textures, as though entire centuries of musical history had become suspended inside a single frequency.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-amas006

Within that journey, “CHAOS” stands at the conceptual and emotional center of the album. The track operates as a structural backbone, unfolding a sonic progression that truly embodies what its title suggests. Yet chaos here is not explosive destruction; it is the constant reorganization of layers, tensions, and temporalities. Latent fragments drift through ethereal and deeply nostalgic coordinates while the front of the track advances with a dub serenity that seems to contain collapse without ever fully allowing it to happen.

Confusion becomes texture; disorder transforms into rhythmic respiration. Delicate electronic layers slowly slide over one another, generating a suspended sensation of drift where each sound feels as though it arrives from multiple timelines simultaneously. Minimal and deep elements stop functioning as genres and instead become states of perception. And somewhere inside that sonic fog, Bach continues to appear — no longer as a historical figure, but as a digital specter floating between echoes, emptiness, and repetition.

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Teseracto – Obra Negra [電光 Denkō Recordings]

Within the Latin American circuit of hypnotic and deep techno, Teseracto has steadily built a presence grounded in tension, precision, and a deeply physical understanding of sound. The Colombian DJ and producer from Popayán has been developing the project since 2018, moving through local dancefloors alongside figures such as Ricardo Garduno, Jonas Kopp, Marika Rossa, Camea, Shlomi Aber, and several key artists from Colombia’s contemporary electronic scene. Beyond the names themselves, what truly matters is how that trajectory has shaped a sonic identity focused on structural depth, rhythmic pressure, and atmospheric control.

https://clubfuries.com.mx/2025/12/22/cfp-nordbass-orden-y-caos-dnk008/

Now arriving on 電光 Denkō Recordings with “Obra Negra,” a four-track EP, Teseracto presents a release where techno operates like architecture in constant construction. Atmospheric layers intertwine with solid, sharply defined kick drums, generating dense structures that evolve without ever losing clarity or direction. There is a continuous sensation of controlled immersion, as if every sonic element had been carefully designed to act simultaneously on both body and perception. This goes beyond merely being about intensity. It is about turning intensity itself into hypnosis.

.

https://soundcloud.com/clubfuriess/cfs-teseracto-obra-negra-dnk012

The title track emerges immediately as a machine of sustained pressure. Thick, heavily electrified sonic rotors carry enormous amounts of density and effervescence without ever compromising the internal balance of the track. Everything moves with the sensation of contained power, like a reactor operating at maximum capacity under absolute control. The low-end strikes with force while the upper layers spread metallic vibrations that gradually occupy every corner of the mix.

What makes the track particularly compelling is its refusal to collapse into excess despite its sheer force. Energy accumulates progressively, yet always modulated through precise transitions and surgical sound design that knows exactly when to push forward and when to pull back. The texture itself becomes a form of living tension — compact, immersive, and capable of transforming the dancefloor into a suspended physical and mental space. With “Obra Negra,” Teseracto is not trying to saturate the room; he is trying to command it.

Label: 電光 Denkō Recordings
Artist: Teseracto
Title: Obra Negra EP
Catalogue: DNK012

Release Date: May 25, 2025
Support & Buy: Bandcamp

Tracklist
1. Obra Negra 05:49
2. Andromeda
3. Entre LAdrillos
4. Haz de Luz

Teseracto

SoundCloud | Instagram | Beatport

Denkō Recordings

SoundCloud | Instagram | Bandcamp 

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Teseracto – Obra Negra [電光 Denkō Recordings]

Within the Latin American circuit of hypnotic and deep techno, Teseracto has steadily built a presence grounded in tension, precision, and a deeply physical understanding of sound. The Colombian DJ and producer from Popayán has been developing the project since 2018, moving through local dancefloors alongside figures such as Ricardo Garduno, Jonas Kopp, Marika Rossa, Camea, Shlomi Aber, and several key artists from Colombia’s contemporary electronic scene. Beyond the names themselves, what truly matters is how that trajectory has shaped a sonic identity focused on structural depth, rhythmic pressure, and atmospheric control.

https://clubfuries.com.mx/2025/12/22/cfp-nordbass-orden-y-caos-dnk008/

Now arriving on 電光 Denkō Recordings with “Obra Negra,” a four-track EP, Teseracto presents a release where techno operates like architecture in constant construction. Atmospheric layers intertwine with solid, sharply defined kick drums, generating dense structures that evolve without ever losing clarity or direction. There is a continuous sensation of controlled immersion, as if every sonic element had been carefully designed to act simultaneously on both body and perception. This goes beyond merely being about intensity. It is about turning intensity itself into hypnosis.

.

https://soundcloud.com/clubfuriess/cfs-teseracto-obra-negra-dnk012

The title track emerges immediately as a machine of sustained pressure. Thick, heavily electrified sonic rotors carry enormous amounts of density and effervescence without ever compromising the internal balance of the track. Everything moves with the sensation of contained power, like a reactor operating at maximum capacity under absolute control. The low-end strikes with force while the upper layers spread metallic vibrations that gradually occupy every corner of the mix.

What makes the track particularly compelling is its refusal to collapse into excess despite its sheer force. Energy accumulates progressively, yet always modulated through precise transitions and surgical sound design that knows exactly when to push forward and when to pull back. The texture itself becomes a form of living tension — compact, immersive, and capable of transforming the dancefloor into a suspended physical and mental space. With “Obra Negra,” Teseracto is not trying to saturate the room; he is trying to command it.

Label: 電光 Denkō Recordings
Artist: Teseracto
Title: Obra Negra EP
Catalogue: DNK012

Release Date: May 25, 2025
Support & Buy: Bandcamp

Tracklist
1. Obra Negra 05:49
2. Andromeda
3. Entre LAdrillos
4. Haz de Luz

Teseracto

SoundCloud | Instagram | Beatport

Denkō Recordings

SoundCloud | Instagram | Bandcamp 

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Mxm Fernandez – Fiesta Retro Future [Cucurbitacea]

Cucurbitacea, the Chilean imprint founded by Edward Yatiri in Matanzas, continues shaping an identity where techno operates as both physical ritual and connection to a deeply Latin American sensibility. Its name, derived from the botanical family of pumpkins and squash, extends far beyond aesthetic symbolism: it informs the label’s entire philosophy through ideas of roots, underground growth, and organic expansion. From that perspective, Cucurbitacea has developed a curatorial line focused on hypnotic percussion, dark atmospheres, and evolving structures that treat the dancefloor as a collective space of perceptual transformation.

The label’s latest release comes from Chilean producer and DJ Mxm Fernandez, founder of Gooze Lab, member of Loco Blue, and contributor to labels such as Melcure, Drumma Records, Binary Sound, and Non Stop. His trajectory within the Chilean electronic circuit has been defined by a balance between technical exploration and club-oriented instinct, developing a language where experimentation never loses contact with movement or bodily response.

https://clubfuries.com.mx/2024/02/15/club-furies-mix-series-cintas-furiosas-present-mxmliano/

With Style Over Scores, a three-track EP, Mxm Fernandez fully embraces that tension between structure and deviation. The release unfolds through rough analog textures and experimental impulses that continuously bend the groove without ever completely breaking it apart. Rhythmic forms seem slightly displaced from their center, generating a controlled instability that keeps the listener suspended inside the flow. There is a distinctly nocturnal quality throughout the EP: an understanding of the club as a space where time softens and repetition begins reshaping sonic matter itself.

“Fiesta Retro Future” captures that conceptual and physical direction with remarkable precision. The track moves through a compact and persistent current where multiple layers coexist within the same rhythmic architecture, creating a texture that feels simultaneously fragmented and unified. Refreshing electricity, heavy metallic pulses hanging in the air, and low-end movements crawling beneath the concrete shape a continuous motion that never collapses under its own weight.

https://soundcloud.com/clubfuriess/cfs-mxm-fernandez-fiesta-retro-future-cucubitacea

As the track progresses, tension emerges gradually rather than explosively. The sound does not chase immediate impact; instead, it embeds itself slowly into perception through pressure, repetition, and subtle transformation. Elements appear and dissolve with surgical timing, like mechanical fragments reorganizing inside an unstable system. One of the track’s strongest qualities lies precisely there: transforming structural complexity into immediate physical sensation. Sustained groove, controlled density, and an energy that remains permanently open, unfolding across the dancefloor in discreet spirals.

Artist: Mxm Fernandez
Title: Style Over Scores
Label: Cucurbitacea
Catalogue: EP 002
Format: Digital

Release Date: May 21, 2026
Support & Buy: Bandcamp

Tracklist
1. Fiesta Retro Future
2. Skateboarding Es Vida
3. Filosofía de Vida

Mxm Fernandez

SoundCloud | Instagram | Facebook | Bandcamp

Cucurbitacea

Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Mxm Fernandez – Fiesta Retro Future [Cucurbitacea]

Cucurbitacea, the Chilean imprint founded by Edward Yatiri in Matanzas, continues shaping an identity where techno operates as both physical ritual and connection to a deeply Latin American sensibility. Its name, derived from the botanical family of pumpkins and squash, extends far beyond aesthetic symbolism: it informs the label’s entire philosophy through ideas of roots, underground growth, and organic expansion. From that perspective, Cucurbitacea has developed a curatorial line focused on hypnotic percussion, dark atmospheres, and evolving structures that treat the dancefloor as a collective space of perceptual transformation.

The label’s latest release comes from Chilean producer and DJ Mxm Fernandez, founder of Gooze Lab, member of Loco Blue, and contributor to labels such as Melcure, Drumma Records, Binary Sound, and Non Stop. His trajectory within the Chilean electronic circuit has been defined by a balance between technical exploration and club-oriented instinct, developing a language where experimentation never loses contact with movement or bodily response.

https://clubfuries.com.mx/2024/02/15/club-furies-mix-series-cintas-furiosas-present-mxmliano/

With Style Over Scores, a three-track EP, Mxm Fernandez fully embraces that tension between structure and deviation. The release unfolds through rough analog textures and experimental impulses that continuously bend the groove without ever completely breaking it apart. Rhythmic forms seem slightly displaced from their center, generating a controlled instability that keeps the listener suspended inside the flow. There is a distinctly nocturnal quality throughout the EP: an understanding of the club as a space where time softens and repetition begins reshaping sonic matter itself.

“Fiesta Retro Future” captures that conceptual and physical direction with remarkable precision. The track moves through a compact and persistent current where multiple layers coexist within the same rhythmic architecture, creating a texture that feels simultaneously fragmented and unified. Refreshing electricity, heavy metallic pulses hanging in the air, and low-end movements crawling beneath the concrete shape a continuous motion that never collapses under its own weight.

https://soundcloud.com/clubfuriess/cfs-mxm-fernandez-fiesta-retro-future-cucubitacea

As the track progresses, tension emerges gradually rather than explosively. The sound does not chase immediate impact; instead, it embeds itself slowly into perception through pressure, repetition, and subtle transformation. Elements appear and dissolve with surgical timing, like mechanical fragments reorganizing inside an unstable system. One of the track’s strongest qualities lies precisely there: transforming structural complexity into immediate physical sensation. Sustained groove, controlled density, and an energy that remains permanently open, unfolding across the dancefloor in discreet spirals.

Artist: Mxm Fernandez
Title: Style Over Scores
Label: Cucurbitacea
Catalogue: EP 002
Format: Digital

Release Date: May 21, 2026
Support & Buy: Bandcamp

Tracklist
1. Fiesta Retro Future
2. Skateboarding Es Vida
3. Filosofía de Vida

Mxm Fernandez

SoundCloud | Instagram | Facebook | Bandcamp

Cucurbitacea

Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Premiere: Jëan Fixx – Pink Noise [INNFLEXIA]

Jëan Fixx, the musical alias of multidisciplinary artist Félix Fernández, has developed a language that moves across techno, electro, synth-wave, and EBM, shaping an identity where industrial textures and atmospheric depth coexist in constant tension. His trajectory spans labels such as iptamenosdiscos, Deep Different, Ruidodefondo, and Disctrl, alongside airplay across European and Latin American platforms. With INNFLEXIA, he extends his practice into a dedicated space for experimentation and the dissemination of contemporary electronic music.

With HINDSIGHT, his vision takes on a particularly focused form. Across 54 minutes, the album unfolds as an active reading of rave memory, deconstructing and reorganizing the codes that have shaped his trajectory. Techno, electro, EBM, electroclash, and synthpop emerge as layered elements within a narrative where the past remains dynamic—reactivated through a contemporary lens infused with psychedelic nuance and sustained emotional intensity.

The album’s structure feels like a process of accumulation. Acid textures, progressive arrangements, and a distinctive vocal approach create a space where the dancefloor becomes a site of introspection. Energy extends beyond physical drive, shifting toward a dimension where club experience gains symbolic weight. An implicit reflection emerges on rave culture as a space for identity formation, resistance, and emotional expansion.

Within this framework, “Pink Noise” introduces a particularly vivid shift. The track channels the hedonistic, nocturnal energy of early-2000s electroclash, articulated through sharp synth lines and an attitude that balances irony and seduction. References to artists like Tiga, DJ Hell, Miss Kittin, and The Hacker are filtered through a contemporary perspective, avoiding replication in favor of reinterpretation.

https://soundcloud.com/clubfuriess/cfp-jean-fixx-pink-noise-innflexia

Its texture is defined by precision. Synths cut cleanly through the mix, while the groove sustains a steady, instinctive movement. A playful quality runs through the track, unfolding with lightness while retaining depth. Vocals act as another point of friction, adding character and reinforcing a sense of electrified nocturnality.

In this balance between memory and renewal, “Pink Noise” captures one of the album’s most direct gestures. It functions as an entry point into its sonic universe, where form and intent align with clarity. The result lingers—a frequency that remains active even after the track fades.

HINDSIGHT ultimately settles as a reconstruction where the dancefloor becomes a living archive. Nostalgia is set in motion rather than preserved, reorganizing the past through the present and leaving space for further evolution within its own system.

Artist: Jëan Fixx
Label: INNFLEXIA
Title: Hindsight
Catalogue:

Release Date: June 22, 2026
Support & Buy: Bandcamp

Tracklist

Jëan Fixx

SoundCloud | Instagram | Threads | YouTube | Facebook | Bandcamp | Linktree

INNFLEXIA

SoundCloud | Instagram | YouTube

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Premiere: Jëan Fixx – Pink Noise [INNFLEXIA]

Jëan Fixx, the musical alias of multidisciplinary artist Félix Fernández, has developed a language that moves across techno, electro, synth-wave, and EBM, shaping an identity where industrial textures and atmospheric depth coexist in constant tension. His trajectory spans labels such as iptamenosdiscos, Deep Different, Ruidodefondo, and Disctrl, alongside airplay across European and Latin American platforms. With INNFLEXIA, he extends his practice into a dedicated space for experimentation and the dissemination of contemporary electronic music.

With HINDSIGHT, his vision takes on a particularly focused form. Across 54 minutes, the album unfolds as an active reading of rave memory, deconstructing and reorganizing the codes that have shaped his trajectory. Techno, electro, EBM, electroclash, and synthpop emerge as layered elements within a narrative where the past remains dynamic—reactivated through a contemporary lens infused with psychedelic nuance and sustained emotional intensity.

The album’s structure feels like a process of accumulation. Acid textures, progressive arrangements, and a distinctive vocal approach create a space where the dancefloor becomes a site of introspection. Energy extends beyond physical drive, shifting toward a dimension where club experience gains symbolic weight. An implicit reflection emerges on rave culture as a space for identity formation, resistance, and emotional expansion.

Within this framework, “Pink Noise” introduces a particularly vivid shift. The track channels the hedonistic, nocturnal energy of early-2000s electroclash, articulated through sharp synth lines and an attitude that balances irony and seduction. References to artists like Tiga, DJ Hell, Miss Kittin, and The Hacker are filtered through a contemporary perspective, avoiding replication in favor of reinterpretation.

https://soundcloud.com/clubfuriess/cfp-jean-fixx-pink-noise-innflexia

Its texture is defined by precision. Synths cut cleanly through the mix, while the groove sustains a steady, instinctive movement. A playful quality runs through the track, unfolding with lightness while retaining depth. Vocals act as another point of friction, adding character and reinforcing a sense of electrified nocturnality.

In this balance between memory and renewal, “Pink Noise” captures one of the album’s most direct gestures. It functions as an entry point into its sonic universe, where form and intent align with clarity. The result lingers—a frequency that remains active even after the track fades.

HINDSIGHT ultimately settles as a reconstruction where the dancefloor becomes a living archive. Nostalgia is set in motion rather than preserved, reorganizing the past through the present and leaving space for further evolution within its own system.

Artist: Jëan Fixx
Label: INNFLEXIA
Title: Hindsight
Catalogue:

Release Date: June 22, 2026
Support & Buy: Bandcamp

Tracklist

Jëan Fixx

SoundCloud | Instagram | Threads | YouTube | Facebook | Bandcamp | Linktree

INNFLEXIA

SoundCloud | Instagram | YouTube

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Premiere: Jëan Fixx – Pink Noise [INNFLEXIA]

Jëan Fixx, the musical alias of multidisciplinary artist Félix Fernández, has developed a language that moves across techno, electro, synth-wave, and EBM, shaping an identity where industrial textures and atmospheric depth coexist in constant tension. His trajectory spans labels such as iptamenosdiscos, Deep Different, Ruidodefondo, and Disctrl, alongside airplay across European and Latin American platforms. With INNFLEXIA, he extends his practice into a dedicated space for experimentation and the dissemination of contemporary electronic music.

With HINDSIGHT, his vision takes on a particularly focused form. Across 54 minutes, the album unfolds as an active reading of rave memory, deconstructing and reorganizing the codes that have shaped his trajectory. Techno, electro, EBM, electroclash, and synthpop emerge as layered elements within a narrative where the past remains dynamic—reactivated through a contemporary lens infused with psychedelic nuance and sustained emotional intensity.

The album’s structure feels like a process of accumulation. Acid textures, progressive arrangements, and a distinctive vocal approach create a space where the dancefloor becomes a site of introspection. Energy extends beyond physical drive, shifting toward a dimension where club experience gains symbolic weight. An implicit reflection emerges on rave culture as a space for identity formation, resistance, and emotional expansion.

Within this framework, “Pink Noise” introduces a particularly vivid shift. The track channels the hedonistic, nocturnal energy of early-2000s electroclash, articulated through sharp synth lines and an attitude that balances irony and seduction. References to artists like Tiga, DJ Hell, Miss Kittin, and The Hacker are filtered through a contemporary perspective, avoiding replication in favor of reinterpretation.

https://soundcloud.com/clubfuriess/cfp-jean-fixx-pink-noise-innflexia

Its texture is defined by precision. Synths cut cleanly through the mix, while the groove sustains a steady, instinctive movement. A playful quality runs through the track, unfolding with lightness while retaining depth. Vocals act as another point of friction, adding character and reinforcing a sense of electrified nocturnality.

In this balance between memory and renewal, “Pink Noise” captures one of the album’s most direct gestures. It functions as an entry point into its sonic universe, where form and intent align with clarity. The result lingers—a frequency that remains active even after the track fades.

HINDSIGHT ultimately settles as a reconstruction where the dancefloor becomes a living archive. Nostalgia is set in motion rather than preserved, reorganizing the past through the present and leaving space for further evolution within its own system.

Artist: Jëan Fixx
Label: INNFLEXIA
Title: Hindsight
Catalogue:

Release Date: June 22, 2026
Support & Buy: Bandcamp

Tracklist

Jëan Fixx

SoundCloud | Instagram | Threads | YouTube | Facebook | Bandcamp | Linktree

INNFLEXIA

SoundCloud | Instagram | YouTube

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Premiere: Jëan Fixx – Pink Noise [INNFLEXIA]

Jëan Fixx, the musical alias of multidisciplinary artist Félix Fernández, has developed a language that moves across techno, electro, synth-wave, and EBM, shaping an identity where industrial textures and atmospheric depth coexist in constant tension. His trajectory spans labels such as iptamenosdiscos, Deep Different, Ruidodefondo, and Disctrl, alongside airplay across European and Latin American platforms. With INNFLEXIA, he extends his practice into a dedicated space for experimentation and the dissemination of contemporary electronic music.

With HINDSIGHT, his vision takes on a particularly focused form. Across 54 minutes, the album unfolds as an active reading of rave memory, deconstructing and reorganizing the codes that have shaped his trajectory. Techno, electro, EBM, electroclash, and synthpop emerge as layered elements within a narrative where the past remains dynamic—reactivated through a contemporary lens infused with psychedelic nuance and sustained emotional intensity.

The album’s structure feels like a process of accumulation. Acid textures, progressive arrangements, and a distinctive vocal approach create a space where the dancefloor becomes a site of introspection. Energy extends beyond physical drive, shifting toward a dimension where club experience gains symbolic weight. An implicit reflection emerges on rave culture as a space for identity formation, resistance, and emotional expansion.

Within this framework, “Pink Noise” introduces a particularly vivid shift. The track channels the hedonistic, nocturnal energy of early-2000s electroclash, articulated through sharp synth lines and an attitude that balances irony and seduction. References to artists like Tiga, DJ Hell, Miss Kittin, and The Hacker are filtered through a contemporary perspective, avoiding replication in favor of reinterpretation.

https://soundcloud.com/clubfuriess/cfp-jean-fixx-pink-noise-innflexia

Its texture is defined by precision. Synths cut cleanly through the mix, while the groove sustains a steady, instinctive movement. A playful quality runs through the track, unfolding with lightness while retaining depth. Vocals act as another point of friction, adding character and reinforcing a sense of electrified nocturnality.

In this balance between memory and renewal, “Pink Noise” captures one of the album’s most direct gestures. It functions as an entry point into its sonic universe, where form and intent align with clarity. The result lingers—a frequency that remains active even after the track fades.

HINDSIGHT ultimately settles as a reconstruction where the dancefloor becomes a living archive. Nostalgia is set in motion rather than preserved, reorganizing the past through the present and leaving space for further evolution within its own system.

Artist: Jëan Fixx
Label: INNFLEXIA
Title: Hindsight
Catalogue:

Release Date: June 22, 2026
Support & Buy: Bandcamp

Tracklist

Jëan Fixx

SoundCloud | Instagram | Threads | YouTube | Facebook | Bandcamp | Linktree

INNFLEXIA

SoundCloud | Instagram | YouTube

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Premiere: Jëan Fixx – Pink Noise [INNFLEXIA]

Jëan Fixx, the musical alias of multidisciplinary artist Félix Fernández, has developed a language that moves across techno, electro, synth-wave, and EBM, shaping an identity where industrial textures and atmospheric depth coexist in constant tension. His trajectory spans labels such as iptamenosdiscos, Deep Different, Ruidodefondo, and Disctrl, alongside airplay across European and Latin American platforms. With INNFLEXIA, he extends his practice into a dedicated space for experimentation and the dissemination of contemporary electronic music.

With HINDSIGHT, his vision takes on a particularly focused form. Across 54 minutes, the album unfolds as an active reading of rave memory, deconstructing and reorganizing the codes that have shaped his trajectory. Techno, electro, EBM, electroclash, and synthpop emerge as layered elements within a narrative where the past remains dynamic—reactivated through a contemporary lens infused with psychedelic nuance and sustained emotional intensity.

The album’s structure feels like a process of accumulation. Acid textures, progressive arrangements, and a distinctive vocal approach create a space where the dancefloor becomes a site of introspection. Energy extends beyond physical drive, shifting toward a dimension where club experience gains symbolic weight. An implicit reflection emerges on rave culture as a space for identity formation, resistance, and emotional expansion.

Within this framework, “Pink Noise” introduces a particularly vivid shift. The track channels the hedonistic, nocturnal energy of early-2000s electroclash, articulated through sharp synth lines and an attitude that balances irony and seduction. References to artists like Tiga, DJ Hell, Miss Kittin, and The Hacker are filtered through a contemporary perspective, avoiding replication in favor of reinterpretation.

https://soundcloud.com/clubfuriess/cfp-jean-fixx-pink-noise-innflexia

Its texture is defined by precision. Synths cut cleanly through the mix, while the groove sustains a steady, instinctive movement. A playful quality runs through the track, unfolding with lightness while retaining depth. Vocals act as another point of friction, adding character and reinforcing a sense of electrified nocturnality.

In this balance between memory and renewal, “Pink Noise” captures one of the album’s most direct gestures. It functions as an entry point into its sonic universe, where form and intent align with clarity. The result lingers—a frequency that remains active even after the track fades.

HINDSIGHT ultimately settles as a reconstruction where the dancefloor becomes a living archive. Nostalgia is set in motion rather than preserved, reorganizing the past through the present and leaving space for further evolution within its own system.

Artist: Jëan Fixx
Label: INNFLEXIA
Title: Hindsight
Catalogue:

Release Date: June 22, 2026
Support & Buy: Bandcamp

Tracklist

Jëan Fixx

SoundCloud | Instagram | Threads | YouTube | Facebook | Bandcamp | Linktree

INNFLEXIA

SoundCloud | Instagram | YouTube

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Giorgio Brindesi – On My Mind [Behind The Noise]

Behind The Noise, the Mexican electronic music label focused on underground and crossover-oriented sounds, continues strengthening an identity built around openness and sonic exploration. More than simply functioning as a record label, the project operates as a support network for both emerging and established artists interested in developing music with a clear sense of personality, whether through experimental structures or direct dancefloor functionality. Across its catalog, one element remains constant: releases where groove and sonic identity converge without sacrificing freshness or direction.

https://clubfuries.com.mx/2026/05/05/cfp-youthindrvgs-darkness-behind-the-noise/

For one of its latest releases, the label introduces Giorgio Brindesi, presenting “Love and Frequencies”, a project rooted in Indie Dance, Dark Disco, and Italo Disco aesthetics. Within that framework emerges ‘On My Mind’, a double-tracker driven by electric energy, nocturnal propulsion, and a sensual tension sustained from beginning to end. The release unfolds through luminous darkness — wet neon surfaces, reflective textures, and rhythms that gradually acquire a physical dimension of their own.

https://soundcloud.com/clubfuriess/cfs-giorgio-brindesi-on-my-mind-behind-the-noise

The title track immediately establishes its dancefloor-oriented force. Built around 128 BPM in F Major, “On My Mind” combines deep, highly mobile basslines with textures drawing from minimal bass and bass house, while a sharply constructed groove maintains constant momentum throughout the track. Female vocals move through the center of the mix like hypnotic transmissions, carrying emotional tones that fluctuate between desire, chemical euphoria, and psychological tension. Conceptually, the track revolves around substances, altered perception, and the lingering sensory residue left behind after the rave itself — the moment when the body leaves the space while the mind remains trapped inside the pulse.

From the very beginning, the sound feels electric, piercing, and physically overwhelming. Neon darkness slowly floods the atmosphere while purple flashes and metallic frequencies spread across the body like synchronized voltage. The vocals emerge through dense synthetic layers, breathing against the groove with an almost ritualistic intensity. Everything unfolds like a carefully engineered sonic spell: movement takes control immediately, and the body gradually dissolves into a current where rhythm, desire, and perception collapse into the same frequency.

Label: Behind The Noise
Artist: Giorgio Brindesi
Title: On My Mind
Catalogue: 112026BTN

Release Date: May 15, 2026
Support & Buy: Beatport

Tracklist
1. On My Mind 05:33
2. I Wanna Taste It 05:58

Giorgio Brindesi

SoundCloud | Instagram | Facebook | Beatport  

Behind The Noise

SoundCloud | Instagram | Bandcamp | Beatport | YouTube

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Premiere: Cuba Campechana – Todo el Spot Reventé [Behind the Noise]

Born from an irreverent accumulation of the collective subconscious, Cuba Campechana emerges from Toluca with a proposal that moves fluidly across genres and references. Rooted in indie dance, his sound expands into territories where rock, disco, techno, house, punk, and metal coexist without hierarchy, forming a language driven by energy and identity. The result shifts between euphoria and darkness, creating an atmosphere that engages both body and perception.

There’s a clear connection to the rockstar figure in his approach, not as nostalgia but as an attitude translated into sonic intensity. The dancefloor becomes a space of release where excess, aesthetics, and presence merge into a direct experience. Each set and production channels this tension between overflow and control, shaping a narrative sustained by emotional precision.

https://clubfuries.com.mx/2025/02/17/cfr-2025-4-cuba-campechana-drugs-and-roll-ep-wax-on-tracks/

Within this framework, “Todo el Spot Reventé”, released on Mexican label Behind The Noise, unfolds with dense, immediate energy. The structure is anchored by heavy basslines that strike with persistence, while upper layers introduce a darker edge that sharpens the overall experience. A distinct attitude runs through the track—forward-moving, unapologetic, fully present on the floor.

The sonic construction maintains constant tension, blending dark disco elements with a rawness drawn from rock. The groove moves with sustained cadence, while the texture thickens progressively, creating a sense of controlled saturation. The space fills, compresses, and expands, keeping the body engaged within a continuous flow.

https://soundcloud.com/clubfuriess/cfp-cuba-campechana-todo-el-spot-revente-btn

In its progression, the track becomes a chronicle of a night pushed to its limits, where euphoria and exhaustion coexist. There’s no separation between experience and representation: sound captures that moment when collective energy peaks, when every gesture amplifies and every impulse resonates through the crowd.

On a sensory level, the piece triggers an immediate physical response. The bass hits the chest, mid frequencies generate constant friction, and higher elements cut through the mix like brief flashes. Listening becomes embodied, immersive—aligned with a logic where sound is not only heard, but inhabited.

https://clubfuries.com.mx/2026/05/05/cfp-youthindrvgs-darkness-behind-the-noise/

Within the current indie dance landscape, projects like Cuba Campechana’s reaffirm a move away from excessive polish toward a more textured expressiveness. There’s an intent to roughen the sound, to charge it with character and place it in a zone where the dancefloor becomes more than a site of consumption—a space of collective friction. That sustained tension leaves a trace that lingers long after the sound fades.

Artist: Cuba Campechana
Title: Todo el Spot Reventé
Label: Behind the Noise
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CF Interview | apaull: «Do you have the gunfactor?» On Furnace Room Recordings

Some albums arrive with a concept so precisely articulated that the music barely needs defending. Gunfactor, apaull’s new record on Furnace Room Recordings, is one of them. Ten tracks navigating the pathways to fame — and infamy — across a sonic palette that moves from techno to synthwave by way of industrial, always with an economy of means that signals someone who knows exactly what they’re doing. The title lettering is by Al Diaz, a past collaborator of Jean-Michel Basquiat. The photographs are by Dave Clarke. We spoke with apaull about the album, its contradictions, and the questions it leaves unanswered.

Club Furies: The title operates simultaneously in two languages with meanings that don’t contradict each other but pull in different directions. Was that tension intentional from the start, or did the linguistic ambiguity emerge during the process and you decided to let it do its work?

apaull: The tension was intentional. The Dutch meaning came first, though. I was having coffee with a Dutch booking agent and she said you need produce good music but also have the “gunfactor”, this intangible ’it factor’ to become successful (and famous). The immediate question is how does one achieve that “it factor”. The theme developed from there. Either you have exceptional talent which leads to fame or you are somehow notorious, which leads to infamy.

https://soundcloud.com/apaull_music/sets/gunfactor-8-tracks

Club Furies: The album draws an implicit distinction between earned fame and inflicted fame. Tracks like «Veilig» or «King Dome» seem to inhabit that grey zone where recognition arrives through circumstances no one would have chosen. How do you construct that difference narratively without collapsing into moral judgment?

apaull: Great question. While I have strong personal views I try to present things agnostically. I create perspectives in my tracks, that sometimes belie my personal views, but are really there to ask the listener what they think. It’s like listening to a painting. What do you hear and what do you think about it?

Club Furies: «Finishing School» summons something from another era that, by your own notes, «might still hold true today.» What strikes you as more unsettling: that those ideas persist, or that we still have to keep saying so?

apaull: “Finishing School” is a tongue in cheek examination of societal structure. In previous eras, roles were more clearly defined than they are today, if not over the top rigid. Today we find ourselves in jello, where structure has been systematically removed. We now live in an open concept society, if not over the top lax. “Finishing School’s” light hearted question is do we need some of that structure back.

Club Furies: The album has very specific geographies: Berlin in January, Detroit, New York implicit in «Veilig.» Do those physical contexts affect the compositional process technically — in the sound, the tempo, the processing — or do they function more as states of mind?

apaull: Both. I absorb where I am and this influences my state of mind and how I write. I write music almost continually and love writing in hotel rooms. For instance, the album track “Fang Mich” (Catch Me) was written and produced in Berlin. It captures the vibes I soaked in from the winter weather, Tresor & Berghain techno forays, a cold and jet lag. I live two hours from Detroit, the birthplace of techno, and go there for Movement each year. Detroit techno is pretty straight ahead but with indelible flashes of house. It is warmer than Berlin techno. The track “Veilig” (Safe) was written about something that happened in New York. I have been there many times and carry the vibe of this ‘infinite city’ with me.

Club Furies: «Cartel» proposes a kind of inverse moral relativism. It’s arguably the album’s most conceptually exposed position. What was the writing process like for that track: did you start from the concept or arrive at it through the music?

apaull: I came accross the vocal sample first and used it as the track’s foundation. I wrote the music around this sample (normally I do it the other way around). I found it interesting that a politician would compare a global body (World Economic Forum) to Columbian drug cartels, the point being that the espoused global organizations are cartels, in there own right. The pandemic made clear that this is the case.

https://open.spotify.com/intl-es/album/2zoMok0136WpNuiulxOrXq

Club Furies: «True Though» suggests that sufficient fame functions as a shield. What’s interesting is that the track doesn’t sound like furious critique — it sounds more like resignation. Is that emotional ambiguity deliberate, or is it what came out?

apaull: My song writing is about providing a perspective, without the proselytizing that fury might evoke. I create these track perspectives to be there subliminally, that is you will only hear them if you listen deeply and far away from the club. “True Though” is about how Canada’s now former prime minister could not remember how many times he had donned ‘black face’, was somehow not cancelled and was still able to ascend this high office. While I’m a firm believer in redemption, I doubt that other politicians would have received this benefit of the doubt.

Club Furies: You close the album with «Altamont Joy,» which ends on «You’re gonna look real crazy, being on the other side of that line.» That line can be read as a warning, a statement of fact, or an irony. Did you want it to be all three at once?

apaull: The sample, in question, was delivered, by the speaker, as an omimous warning. It presents two perspectives, the speaker’s and the other, across some imaginary dotted line into a philosophical ‘no mans land’. The point of the track is that we cannot function with this level of polarization because the ability to discuss and reach consensus is lost.

https://soundcloud.com/apaull_music/gunfactor-demo

Club Furies: Bringing in Al Diaz for the title lettering places the record in a visual conversation with eighties street art and everything that history implies. How did you come to him, and what did you want that choice to communicate?

apaull: I met him through my friend and artist, Jason Maclean, on one of my trips to New York, and was mesmerized by his history and works. I was quite taken by his lettering (assembled from New York Metropolitan Transit Authority posters). For the purposes of creating visual artistic continuity between my releases I thought this lettering would work well.

Club Furies: Every track on the album has a remix. That’s a structural decision, not an accessory one. What interests you about the dialogue between your version and another artist’s reinterpretation? Are there tracks where that tension feels particularly generative?

apaull: I made a decision, early on, to release on my own label because I was new, wanted full control of my music and didn’t think the slog of attracting label interest was a good use of my time. Working with remixers was a good alternative to labels. I work with remixers for two reasons: 1. To have them create more danceable and club friendly versions of a track; and 2. To introduce my music to their audiences. The bonus is that I have been able to work with artists who I respect and admire, and learn from them.

https://clubfuries.com.mx/2026/02/22/cfp-apaull-king-dome-pyrame-frr034/

Club Furies: Your music operates in a space where peak time and after-hours aren’t opposites but continuities. That implies a certain resistance to the kind of specialization the market tends to reward. How do you think about that position in relation to how electronic music circulates today?

apaull: I see my music as art. While notionally it fits into the techno genre, I spend no time trying to get it to fit what is being played in clubs. While I enjoy club music, I see what is produced as being derivitive more than specialization. Clubgoers enjoy this musical continuity and for producers it can be a pathway to success. There is nothing wrong with that. I work diligently to create a sound, that is grounded but unique, and then work even harder to find the right audience. My work with club friendly remixers, as described above, is an invitation to their audience to become part of mine. Over time, what I produce will continue to work its way into clubs and other venues.

Club Furies: Furnace Room Recordings is now thirty-six releases in. What does running your own label mean for a project like yours? Does the autonomy change what you’re willing to sign off on?

apaull: The label means I get to release what I want and build a solid catalog that I control. It is a platform that now allows me to present my music to potential labels, remixers and venues and work to attract their interest. My goal is to write and professionally produce interesting tracks. I only sign off on and release  tracks after my team has given their stamp of approval.

Club Furies: If the album asks «do you have the gunfactor?» — what’s your answer?

apaull: Ultimately, that is for others to decide, but, to save them some time I would say, YES.

https://youtu.be/xuALldIl4Uw

Gunfactor is not a comfortable record, and it doesn’t try to be. It is a work that observes, with clinical detachment, the mechanisms by which the world rewards, ignores, or destroys people — and has the honesty not to offer solutions. In a circuit that often consumes itself in its own effervescence, apaull builds something slower and more durable: a body of work with edges, with conceptual texture, with the kind of coherence that can only come from someone who has been at this long enough not to need to impress anyone.

The question that titles the album stays open. Perhaps that is the only honest answer there is.

Gunfactor is released April 24, 2026 on Furnace Room Recordings (frr036), distributed by Superstition and available on all platforms. Remixes accompany the album as single and EP releases.

As a complement to the Gunfactor release, the inclusion of the Dina Summer Remix, set to be released on May 22, adds a significant layer of contemporary energy to the project. This remix not only reinterprets apaull’s sonic vision but also serves as a strategic bridge for listeners to further explore the creative process detailed in this interview.

artist: apaull
Album: Gunfactor
Release Format: Digital
Cat. No. frr036
Distribution: Superstition, all online platforms

Release Date: April 24, 2026
Pre Order FurnaceRoomRecords.lnk.to/Gunfactor

apaull- writing, producing, mixing
Abe Duque- Executive Producer, mastering

Tracklist
1. Fang Mich 04:07
2. King Dome 05:20
3. Push the Button 06:10
4. Veilig 04:38
5. Finishing School 05:05
6. Gunfactor 05:34
7. Cartel 07:11
8. True Though 05:04
9. Payload 05:32
10. Altamont Joy 07:30

apaull

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Furnace Room Records

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Club Furies

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