#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

SoundCloud | Instagram | Linktree

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: 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: 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: 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: Carara – MinoR [Android Muziq]

The intersection of two essential forces from the underground always demands a sharper focus. One of our favorite artists returns through one of our preferred imprints: Carara needs no introduction within these pages, as his signature has inhabited this space on multiple occasions; however, we are honored to debut Android Musiq with this Premiere. Founded in mid-2009, the label has sustained unanimous backing across the global community thanks to a relentless catalog that fuses minimalist techno, futuristic grooves, and those sci-fi funk rhythms that still defy any terrestrial classification.

https://clubfuries.com.mx/2026/04/30/cfp-carara-narcotics-ecsy070/

On this discographic trench, the producer based between Aachen and Berlin introduces Rare, an EP featuring two original cuts completed by a contribution from producer Kioz alongside its respective reinterpretation. The backbone of this release reveals itself rawly on MinoR, a piece that arrives sharp from the very first second. The track waives any decorative introductions to haul a cyclic, metallic-natured groove, where the sonic matter binds together to shape an impressive techno velvet.

https://soundcloud.com/clubfuriess/cfs-carara-minor-android325

Far from industrial flatness, the topography of the cut is rugged and dense. Low-end frequencies and latent synths expand patiently yet securely, erecting thick, extensive ridges that warp the club’s spatiality. It is a suspended architecture subjecting the body to an absolute physical immersion, forcing the psyche to get lost within the folds of its hybrid texture.

Towards the denouement, the composition seeks neither a gentle descent nor a functional summary; the structure cuts off abruptly mid-analog friction, leaving the labyrinth walls in a dry, residual vibration. With Rare, Carara, and Android Musiq sign a sharp editorial stance against the immediacy of today’s scene: they prove that techno with a futuristic heritage solidifies when mathematical precision merges with the elegance of an impregnable hypnotic drive.

Artist: Carara & Kioz
Title: Rare EP
Label: Android Muziq
Catalogue: ANDROID325

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

Tracklist:
1. Carara – MinoR
2. Carara – Viscont White
3. Kioz – Rare
4. Kioz – Rare (Carara Remix)

Carara

SoundCloud | Instagram | Facebook | Beatport

Android Muziq

Website | Instagram | Bandcamp

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

Club Furies Review: From Imperfection to Cult Status: The Living Narrative of Dave Mech’s ‘Berlin Seite’ by Diffuse Reality

Techno is, in its purest origin, a living organism that breathes the very air of the space it occupies. Faced with the proliferation of lab-sterilized digital productions, the Spanish-Argentine imprint Diffuse Reality presents an analog manifesto of physical resistance: Berlin Seite, the new album and vinyl debut from Dutch producer and multi-instrumentalist Dave Mech.

Formed under the rigor of live hardware performance and fueled by a deep devotion to Detroit groove and avant-garde dub, Mech delivers a body of work where imperfection is treated as a cult virtue. Each of the ten digital cuts—and the four making up the physical edition—stems from raw recordings captured in clubs like Berlin’s iconic Oxi, preserving the spontaneous glitches, erratic patterns, and shared breath between the artist and the floor.

The album’s concept articulates itself from an accident transformed into identity. A voice announcement captured in a Berlin elevator mutated, via a fortuitous modular manipulation, into the rhythmic fragment «Berlin Seite». This loop, converted into a bassline and a mantra, functions as the conceptual rotor for a continuous live set.

https://www.youtube.com/watch?t=111&v=JyvyjfwhddM&feature=youtu.be

The immersion sparks in the dim light with Berlin Seite Part 1 (Live at Oxi Berlin), a dense, liquid-textured introduction going in crescendo organically, establishing an immediate dialogue with the audience. Without truce, Berlin Seite Part 2 (Live at Oxi Berlin) compacts the room’s atmosphere, triggering that critical point where the soundsystem and the body merge into a single entity through the artist’s meticulous control.

https://soundcloud.com/clubfuriess/cfs-dave-mech-berlin-seite-part-2-drea027

The track opening the vinyl, Berlin Seite Part 3 (Side A1), arrives buzzing and piercing right from the start. The sound emulates a controlled overflow of granular interference quickly channeled by fine, hypnotic threads, universalizing its sonic geography.

https://soundcloud.com/vault-sessions-collective/premiere-dave-mech-berlin

It is followed by Roots (Side A2), a piece simulating an interdimensional journey within an agile, futuristic vessel; an analog-driven cut operating as a historical document, tracing the lineage between the industrial pulse of the Motor City and the rawness of early 1990s Berlin.

https://soundcloud.com/clubfuriess/cfs-dave-mech-roots-drea027

The return to the club materializes in Inner City (Recorded Live @ Oxi Berlin), a versatile, dual track electrifying the night through agile, shifting percussion. The night turns voracious and fierce upon entering Off into the Woods (Live at Oxi Berlin). Here, accelerated and frantic rhythms push the physical boundaries of the club’s walls, completing the process of mental extraction into the sound.

Its natural continuation, Deep into Woods (Live at Oxi Berlin), deconstructs the rhythm into a suspended temporality, where sonic particles dissolve into an ethereal star dust, shifting the environment with portentous sound design.

https://clubfuries.com.mx/2026/06/28/cfi-dave-mech-berlin-seite/

Urban density claims the wax on Concrete Jungle (Side B1), a precise sonic mapping of asphalt thickness via an expansively moving loop, while Sledgehammer (Side B2) operates as a volcanic mallet—a rhythmic paradox combining swift agility with the heaviness of dense lava.

Far from structuring a linear closure, the album proposes an open narrative with In between (Live at Oxi Berlin). This track, endowed with a frantic intensity, challenges chronological order by functioning both as an open conclusion and an interchangeable central axis.

With Berlin Seite, Dave Mech and Diffuse Reality sign an unwavering editorial stance within today’s underground scene: they prove that cult techno is not manufactured by copying predictable formulas, but by capturing the beautiful, unrepeatable tension of danger in real time.

Label: Diffuse Reality Records
Artist: Dave Mech
Title: Berlin Seite
Format: Digital Album & Vinyl EP
Catalogue: DREA027
Distribution: LabelWorx, Clone
Domain Label diffusereality.net
Domain Artist davemech.live

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

Tracklistings
1. Berlin Seite Part 1 (Live at Oxi Berlin) A1 Berlin Seite 3
2. Berlin Seite Part 2 (Live at Oxi Berlin) A2 Roots
3. Berlin Seite Part 3 (Live) B1 Concrete Jungle
4. Roots (Live at Oxi Berlin) B2 Sledgehammer
5. Inner City (Live at Oxi Berlin)
6. Concrete Jungle (Live at Aeden Berlin)
7. Sledgehammer (Live at Aeden Berlin)
8. Off Into The Woods (Live at Oxi Berlin)
9. Deep Into Woods (Live at Oxi Berlin)
10. In Between (Live at Oxi Berlin)

Vinyl EP
A1. Berlin Seite Part 3 (Live)
A2. Roots (Live at Oxi Berlin)
B1. Concrete Jungle (Live at Aeden Berlin)
B2. Sledgehammer (Live at Aeden Berlin)

Upcoming Shows
ATR – OXI Berlin – 7-5-2026
Depot – OXI Berlin – 11-6-2026
Union Audio Live Showcase (Off Sonar)- CutOff Store Barcelona – 18-6-2026
Open Forms Utrecht 27-06-2026
ATR – About Blank – 30-7-2026
ATR – About Blank – 16-10-2026 (as Control // Modify)
ATR – About Blank – 12-12-2026

Dave Mech

Website | SoundCloud | Instagram | Threads | YouTube | Facebook | Bandcamp | bio.site

Diffuse Reality Records

Website | SoundCloud | Instagram | Facebook | YouTube | Linktree

Club Furies

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

CF Signals: Crushted – Desliz Atomico [Invection Series]

The industrial pulse of the German capital reactivates its deepest gears. The Invection series, the avant-garde platform spearheaded by Manrish and based in Berlin, returns with its eighth installment, reaffirming its commitment to relentless sound design. This time around, the dancefloor is subjected to the scrutiny of Spanish producer Crushted, who lands on the catalog with Bajo el Suelo, a two-track EP imbued with the suffocating, rigorous signature sound that defines him in the contemporary scene.

https://clubfuries.com.mx/2026/05/25/cfs-crushted-solaris-exp-ep38/

The title track unfolds from its heavy beginnings, developing with ease, completely relinquishing any predictable transitions. What at first glance simulates a rhythmic concrete block soon reveals itself as a well-interwoven chaos: a sonic architecture where rough, granular textures continuously friction. The piece breathes through a contained tension, moving within a closed yet constantly vibrating architectural space, tailored for absolute bodily immersion.

https://soundcloud.com/clubfuriess/cfs-crushted-desliz-atomico-invection-series

The core of the composition is sustained by tightly tied sonic knots. These rhythmic and conceptual centers of gravity do not remain static; instead, they progressively disintegrate throughout the journey. The track mutates via an autonomous mechanism of chaos that self-generates and self-dissolves within itself—a hybrid materiality that traps the body on the floor and suspends it in a cyclic, ritualistic temporality.

https://clubfuries.com.mx/2026/03/05/cfp-geisterhaut-roswell-incident-invection/

Towards the denouement, the structure rejects any gentle resolution or complacent summary. The sound fades out, leaving behind an image of accumulated tension, a resonance of iron and asphalt hanging in the mid-air. With Bajo el Suelo, Crushted and the Invection series consolidate a sharp editorial stance: Berlin-rooted techno does not need to reinvent the wheel, but rather knows how to dig with mathematical precision exactly where rhythm meets demolition.

Label: Invection Series
Artist: Crushted
Title: Bajo el Suelo EP
Catalogue: INVCTNS008

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

Tracklist
1. Fiebre Eterna
2.Desliz Atómico

Crushted

SoundCloud | Instagram | Linktree

Invection Series

SoundCloud | Instagram | Bandcamp

Club Furies

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

CF Interview | Dave Mech — Berlin Seite: the live set as document

Editorial introduction

Some records are made in studios. Others are torn straight from the night. Berlin Seite is the latter.

Dave Mech — Dutch producer with years of experience in the European techno circuit — releases on Diffuse Reality an album that asks for no permission and makes no concessions: ten tracks captured live at Berlin clubs Oxi and Aeden, without post-production, without corrections. Just the groove as it happened, with the energy of a packed dance floor feeding directly into the machines in real time.

The title carries its own history. «Berlin Seite» was born from a sampling accident — a Berlin elevator voice chopped at exactly the point where it sounds like a rhythmic mantra, which has since functioned as a sonic signature, a bassline, and now a record name. We spoke with Dave Mech about imperfection as a decision, about the spaces that shape a set, and about what it means to preserve an entire night without editing it.

https://clubfuries.com.mx/2026/06/18/cfs-dave-mech-roots-drea027/

I. The sample and the title

01 The record’s name was born from an accident: a Berlin elevator voice chopped exactly where it sounds like «Berlin Seite.» How would you describe that moment when it happened, and when did you decide this discovery deserved to be the center of the album?

— A: It must have been about 5 years ago when I was making a lot of «sample & jam» videos on youtube. For these videos I recorded all times of things and places, showed the sample flipping process and then the resulting track. Fore this video I went to Berlin to record samples. This particular sample didn’t even make it into the video but it found its way into one of my samplers. I often try to make leads or bass rumble and bass lines from odd samples and was working with this sample recorded in a Berlin elevator. The elevator voice says «the door opens on the other side» in German. When I changed the starting point of the sample, it suddenly sounded like «Berlin Seite» in a rhythmic way. I thought that was rather funny and created a groove with it that, through some ittirations it ended up being the opening track I used while playing my first ever gig in Berlin. Which I thought was rather fitting. It’s pitched down quite heavily and it doesn’t say the original sentence anymore but I’d like to believe it still must’ve triggered something in the Berlin crowd.

https://www.youtube.com/watch?v=JyvyjfwhddM&t=111s

02 The sample appears across the first three tracks and at one point works as a bassline. What does that say about how you work with sound — how far can a piece of material transform before it stops being what it was?

— A: Quite far! But I think it’s actually rather cool that samples can be transformed to be many things. Like creating kicks from kicking a bin, or a shaker sound made from rubbing a bunch of leaves against each other. Basically I  simply like to experiment with any sound and destroy it as much as I can to see what happens. I kind of work the same way with synthesizers. While I know the theory, I can switch to my «child mode» and just start twisting knobs until I find something cool and then sculpt it further into its eventual state.

II. The philosophy of live performance

03 You decided not to polish the recordings in the studio — what you hear is exactly what happened that night. When did you make that decision, and what did you have to let go of in order to hold to it?

— A: That’s a good question. Other than extending the beginning and end of some of the tracks, they are indeed raw stereo recordings. The main reason for taking this route was to capture the energy of the live performance of these grooves. In the studio I and when multi-tracking tracks, I can fall into the endless-tweak-spiral. For the grooves that I arrange during my live performances I think it’s much more pure to catch the energy that I got from the club environment, the crowd and the energy, that resonated back from me, into the the club and crowd. I think the most difficult thing for me was to accept their raw nature. Listening back to these tracks I have a million things I’d like to tweak and change to make them polished and perfect. However, the question is, would’ve made that the tracks better? More polished, less raw. I think there’s something to say for both approaches. It was fun to go for the raw route this time.

04 Across the record you can hear elements from one track bleeding into the next — motifs that reappear and morph. How do you experience that porousness between pieces when you’re playing, and what does it mean to find it again in the recording afterward?

— A: I do this even more now then at the time these tracks were recorded. The goal was always to create a 2 hour trip live for the audience. Where the morphing between grooves, moods and atmospheres happens seamlessly and  elements come circling back sometimes. I sometimes like to have an element filtered and tucked in the background for 5 tot 10 minutes before I finally reveal it. It’s really interesting what this does to the mind, because at first an element is in the background and other elements are appearing more onto the foreground, but it’s still registered even if it is subconsciously. I then slowly fade that element more into focus and this will result in a bit of recognition because it was already there for some time. It’s fun to hear an earlier version of this effect on the recording.

III. The sound

05 Berlin Seite moves between dub vibes, Detroit groove and an uptempo pulse that feels both nostalgic and forward-moving at the same time. How do you describe the sonic arc of the record — what do you want someone to feel listening to it from start to finish?

— A: The way I selected the grooves was more or less how I’d like to structure live sets that are 1,5 hours or longer. For me it also reflects traveling to Berlin and what it’s like to be there. They anticipation, excitement, warm atmosphere, the rawness and both the freedoms and constraints. For people listening to the entire album I hope they will get a sense of what Berlin is like, the atmosphere and (club) culture.

IV. The spaces: Oxi and Aeden

06 The album was recorded across two different clubs — Oxi and Aeden — and the vinyl EP selects tracks from both. How did each space shape what you played that night? Can you hear the difference?

— A: The X floor in Oxi is a very a dark and cosy space with a very impressive sound. the vibe is there even with only a small crowd and simply becomes better when the room fills up. Aeden is a bit lighter and a bit more raw. For the performance it automatically influences me, but honestly I would not know how to explain this with words. Best would be to just come and listen to me perform at any place really haha.

https://clubfuries.com.mx/2026/06/10/cfs-dave-mech-berlin-seite-part-2-drea027/

V. The release

07 The record comes out in both digital and vinyl EP format. What changes between listening to Berlin Seite on a streaming platform and putting the record on? Is there something in the physical format that completes the idea?

— A: It has been a dream of mine to get a vinyl release and for this release it kind of feels extra special because a lot of sounds where taken from the physical world and sculpted into music.To then have it press on a piece of physical media to maybe be sampled again by another artist, completes that cycle.

VI. What’s next

08 You have a packed schedule this year — Oxi, About Blank, the Off Sonar showcase in Barcelona. How do you experience the relationship between this recorded material and what happens every night on stage? Does the album change anything in how you prepare or how you play?

— A: Yeah it has been a busy year so far with definite highlights being performing at the Hammahalle at Sisyphos Berlin and my week at off week Sonar in Barcelona. To me the recorded material was a moment in time and since then I’ve shaped and changed the live performance further so what you would hear now if you come to see me perform is very different from the album. Same energy but lots of different material and sounds. The album release has helped me pursue this way of performing further. To the point where I am now that I blend so many different elements form different grooves together, that it would actually be very difficult to do another album recording like this one. Which has made me think of how to do future releases. Definitely an interesting thing to be working on.

09 Berlin Seite documents a very specific way of understanding live techno. What do you want someone who doesn’t know your work to take away after hearing the record for the first time?

— A: Probably that techno can be much more than the very polished thing we often hear nowadays. That it’s okay for music to be raw and even a bit compromised. Just like us humans really. Techno to me is about groove, energy and interesting rhythmic structures and atmospheres. It may be polished, it may be raw, and everything in between. The most important thing for me is that the sound ignites a fire in you and people around you to let loose and live in the moment. And hopefully, it will inspire someone to also embrace rawness and imperfection.

Editorial closing

Berlin Seite is a live performance studio album; but it goes beyond that. It is the live performance itself, preserved without filters. With this release, Dave Mech delivers a statement about what techno can be when captured from the inside: imperfect, organic, alive. A record that smells like a club, arriving exactly when it matters most to remember that the dance floor is a place to connect, not to consume. Out June 26 on Diffuse Reality.

Label: Diffuse Reality Records
Artist: Dave Mech
Title: Berlin Seite
Format: Digital Album & Vinyl EP
Catalogue: DREA027
Distribution: LabelWorx, Clone
Domain Label diffusereality.net
Domain Artist davemech.live

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

Tracklistings
1. Berlin Seite Part 1 (Live at Oxi Berlin) A1 Berlin Seite 3
2. Berlin Seite Part 2 (Live at Oxi Berlin) A2 Roots
3. Berlin Seite Part 3 (Live) B1 Concrete Jungle
4. Roots (Live at Oxi Berlin) B2 Sledgehammer
5. Inner City (Live at Oxi Berlin)
6. Concrete Jungle (Live at Aeden Berlin)
7. Sledgehammer (Live at Aeden Berlin)
8. Off Into The Woods (Live at Oxi Berlin)
9. Deep Into Woods (Live at Oxi Berlin)
10. In Between (Live at Oxi Berlin)

Vinyl EP
A1. Berlin Seite Part 3 (Live)
A2. Roots (Live at Oxi Berlin)
B1. Concrete Jungle (Live at Aeden Berlin)
B2. Sledgehammer (Live at Aeden Berlin)

Upcoming Shows
ATR – OXI Berlin – 7-5-2026
Depot – OXI Berlin – 11-6-2026
Union Audio Live Showcase (Off Sonar)- CutOff Store Barcelona – 18-6-2026
Open Forms Utrecht 27-06-2026
ATR – About Blank – 30-7-2026
ATR – About Blank – 16-10-2026 (as Control // Modify)
ATR – About Blank – 12-12-2026

Dave Mech

Website | SoundCloud | Instagram | Threads | YouTube | Facebook | Bandcamp | bio.site

Diffuse Reality Records

Website | SoundCloud | Instagram | Facebook | YouTube | Linktree

Club Furies

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

CF Signals: Ricardo Garduno – Antisistema [Mind Medizin]

The sonic bridge between the trenches of Latin American techno becomes narrower and more militant by the day. Imprint Mind Medizin—a platform founded by Lady Tazz in Bogotá and conceived as a space for uninhibited catharsis to explore internal demons—welcomes the highly respected Mexican producer Ricardo Garduno to its catalog. With an immense trajectory and a deep-rooted bond with the effervescent Colombian scene, Garduno debuts on the label with Night Caller EP, a four-track collection of high-caliber design distilling the maturity, surgical percussion, and hypnotic groove that have solidified his international status.

https://clubfuries.com.mx/2026/05/18/cfs-ricardo-garduno-liberator-thoughts/

The statement of intent for this release is severely concentrated in Antisistema, a track whose title not only defines a political stance but dictates the nature of its sonic architecture. The piece begins as a meditation introducing buzzing sounds in off, while the rhythmic structure progressively pieces itself together before our eyes, like watching a Transformer in slow motion. There is no rush in its assembly: the dense, metallic-textured matter unfolds link by link, dragging the listener into a latent tension and controlled delirium.

https://soundcloud.com/clubfuriess/cfs-ricardo-garduno-antisistema-mind-medizin

The track reaches a climax of total immersion that positions itself on the fringes of the psyche, transporting the listening experience toward reddish valleys with orange backgrounds that immediately evoke the desert dystopia of Blade Runner. The atmosphere, suspended and suffocating, warps the club’s temporality. Following this vanishing point, the track turns toward the prolongation of its rhythmic synthesis—an impregnable loop engulfing us in the darkness of night and time, revealing a sui generis reality that, within the isolation of the floor, feels more normal than ever.

Towards the denouement, the composition avoids complacent summaries; the structure cuts off, leaving the industrial hums floating like a residual echo in the dark. With Nigh Caller, Ricardo Garduno and Mind Medizin sign a sharp editorial stance: a reminder that the most consistent contemporary techno is that which refuses to fit into the molds of the commercial circuit and operates, precisely, as a resistance.

Label: Mind Medizin
Product: Night Caller EP
Artist: Ricardo Garduno
Catalogue: MDZN044
Format: Digital Release
Mastering: Ricardo Garduno
Artwork: Mind Medizin

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

Tracklist
1. Ricardo Garduno – Antisistema 05:16
2. Ricardo Garduno – Chunky Beast 04:58
3. Ricardo Garduno – My Love 04:56
4. Ricardo Garduno – Night caller 04:55

Ricardo Garduno

SoundCloud | Facebook | Instagram | Twitter | Illegal Alien Records | Thoughts.

Mind Medizin

SoundCloud | Instagram | Threads | Bandcamp | Facebook | Linktree

Club Furies

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

CF Signals: Secret Cinema – Endlessness [Scordisci]

Scordisci is a London-based record label and event platform that has built its identity around the intersection of techno, experimentation, and electroacoustic composition. Rather than embracing rigid genre boundaries, the label promotes a broader vision of electronic music where conceptual innovation and emotional honesty remain at the forefront. In only two years, the project has brought together a diverse community of artists connected by a shared creative curiosity and a desire to continuously explore new sonic possibilities.

That philosophy takes shape through 2 Years of Scordisci VA001, a compilation gathering twenty-three producers from across the contemporary techno spectrum. More than an anniversary release, the project functions as a collective portrait of the label and the artistic paths it has explored since its inception. Hypnotic rhythms, kinetic energy, atmospheric depth, and radically different approaches coexist within a body of work that finds its unity precisely through diversity.

https://clubfuries.com.mx/2026/06/19/cfs-mmolotsi-mabua-loud-wet-kisses-scordisci/

Among the contributors is Secret Cinema, one of the defining figures of the Dutch electronic scene. Since the early 1990s, Jeroen Verheij has built a career that remains deeply embedded in the history of European techno, creating a catalogue as influential as it is extensive. His presence within this compilation adds a particular dimension to the project, establishing a bridge between generations while demonstrating that innovation can emerge just as naturally from decades of accumulated experience.

https://soundcloud.com/clubfuriess/cfs-secret-cinema-endlessness-scordisci

His contribution, Endlessness, embodies its title from the very first moments. The track unfolds across a smooth, velvety sonic canvas that seems to stretch beyond its own temporal boundaries. Everything moves through patient and continuous progression, allowing each layer to breathe and expand naturally. Only a handful of carefully placed pauses interrupt the flow, creating brief openings where both track and dancer can regain perspective before returning to the current. There is a fascinating relationship with time at work throughout the composition.

Certain melodic fragments feel as though they emerge from distant eras while others gesture toward futures not yet imagined, generating a sense of nostalgia suspended somewhere between memory and anticipation. By the time the piece reaches its climax, there is no true resolution. Endlessness simply continues to resonate beyond its formal duration, transforming the ending into another form of permanence and reaffirming Secret Cinema’s remarkable ability to construct sonic spaces where time itself appears to lose its usual limits.

Label: Scordisci
Artist: Various Artists
Title: 2 Years of Scordisci VA001
Catalogue: SCRDVA001
Format: Digital
Mastering: Dael Yaga (www.instagram.com/daelyaga/)
Artwork: Paul Fitzgibbon (www.instagram.com/paul_fitzgibbon/)

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

Tracklist
1. Secret Cinema – Endlessness
2. Heckerman – Cut Through
3. AON – Genesis
4. Talinho – Tara
5. Tonyy – Strata
6. Horston – Rapid Eye Movement
7. Jack Fresia – Haze
8. M3STR – Creed
9. JAIDE – Deep Forest Signal
10. Tensic – Skipstep
11. Mmolotsi Mabua – Loud, Wet Kisses
12. Paul Fitzgibbon – Now You See Me, Now You Don’t
13. Lake Hills – Agentlepush
14. Motivo – Dissociation
15. Cailín – Temple of Abscence
16. Skoglund – Red Thoughts
17. USER FRNDLY – Your Silence
18. Oculus – Panic Room
19. Gabro Trz – Never Try, Never Know
20. Franz Jäger – Black Strain
21. ELI – Vendra
22. Maeksll – Disappointment Tool
23. Dael Yaga – Feron Vrag (Improvisation in E°)

Secret Cinema

SoundCloud | Instagram | Facebook

Scordisci

SoundCloud | Instagram | Bandcamp

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: 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: 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: Dave Mech – Roots (Live at Oxi Berlin) [Diffuse Reality Records]

Dave Mech’s career stands out through a rare combination of technical mastery and educational commitment. Beyond his work as a producer, where he explores the possibilities of techno, modular synthesis, and advanced sound design, he has become an influential figure by making complex creative tools accessible to new generations of artists. His philosophy is rooted in an organic understanding of sound, approaching experimentation not as an end goal but as an ongoing process of discovery.

That perspective finds a particularly fitting home in his latest release for Diffuse Reality Records. Mech’s ability to transform intricate processes into immersive sonic experiences aligns naturally with a label whose identity has long been built around exploration and artistic curiosity. The result is a convergence where technical precision, creative vision, and dancefloor functionality coexist with remarkable balance.

https://clubfuries.com.mx/2026/06/10/cfs-dave-mech-berlin-seite-part-2-drea027/

The importance of Diffuse Reality Records within contemporary electronic music rests on tireless dedication and a curatorial approach that continually challenges the boundaries of industrial techno, dark ambient, and experimental sound. Over the years, its catalogue has evolved into an extensive archive of aesthetic and sonic investigations, providing space for both established names and artists committed to pushing perception beyond familiar limits.

What truly defines Diffuse Reality is not merely the scale of its output, but the consistency with which it navigates the tension between noise, atmosphere, and abstraction. Its releases often occupy a territory where emotional density and technical experimentation move together, creating environments that feel equally physical and introspective.

Berlin Seite emerges from a concept that is both simple and demanding. To document the energy of a live techno performance without altering what happens between the machines, the artist, and the dancefloor. The project captures specific moments of collective connection and transfers them into a recorded format with minimal intervention, preserving exactly what is often lost during post-production. The ten tracks of the digital edition and the four pieces selected for the vinyl EP retain the intensity, imperfections, and tension of the live environment, turning each recording into a living document of a singular experience.

https://soundcloud.com/clubfuriess/cfs-dave-mech-roots-drea027

Within that journey, Roots stands out as one of the release’s most evocative moments. Its title alone feels like a statement of intent. From the opening moments, the track carries a profound sense of grounding, as though the sound itself were reconnecting with deep layers of memory embedded within techno’s history. Textures unfold patiently, settling onto a rhythmic structure that remains steady and deliberate throughout. There is an almost ritualistic quality to its progression, a movement that extends roots toward distant temporal horizons while remaining firmly anchored in the present.

Every repetition deepens the experience, every subtle variation expands the track’s internal space. Gradually, the composition transforms the dancefloor into a suspended territory where past, present, and future begin to coexist. What starts as an exploration of origins ultimately becomes an experience of permanence, a continuous motion that seems to endure long after the final pulse has faded.

Label: Diffuse Reality Records
Artist: Dave Mech
Title: Berlin Seite
Format: Digital Album & Vinyl EP
Catalogue: DREA027
Distribution: LabelWorx, Clone
Domain Label diffusereality.net
Domain Artist davemech.live

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

Tracklistings
1. Berlin Seite Part 1 (Live at Oxi Berlin) A1 Berlin Seite 3
2. Berlin Seite Part 2 (Live at Oxi Berlin) A2 Roots
3. Berlin Seite Part 3 (Live) B1 Concrete Jungle
4. Roots (Live at Oxi Berlin) B2 Sledgehammer
5. Inner City (Live at Oxi Berlin)
6. Concrete Jungle (Live at Aeden Berlin)
7. Sledgehammer (Live at Aeden Berlin)
8. Off Into The Woods (Live at Oxi Berlin)
9. Deep Into Woods (Live at Oxi Berlin)
10. In Between (Live at Oxi Berlin)

Vinyl EP
A1. Berlin Seite Part 3 (Live)
A2. Roots (Live at Oxi Berlin)
B1. Concrete Jungle (Live at Aeden Berlin)
B2. Sledgehammer (Live at Aeden Berlin)

Upcoming Shows
ATR – OXI Berlin – 7-5-2026
Depot – OXI Berlin – 11-6-2026
Union Audio Live Showcase (Off Sonar)- CutOff Store Barcelona – 18-6-2026
Open Forms Utrecht 27-06-2026
ATR – About Blank – 30-7-2026
ATR – About Blank – 16-10-2026 (as Control // Modify)
ATR – About Blank – 12-12-2026

Dave Mech

Website | SoundCloud | Instagram | Threads | YouTube | Facebook | Bandcamp | bio.site

Diffuse Reality Records

Website | SoundCloud | Instagram | Facebook | YouTube | Linktree

Club Furies

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

CF Signals: Ópalo – Desire [Nettuno]

“Beneath the surface of the waves, invisible currents flow.” This is how the new Milan-based Italian label led by taru introduces itself. A statement that works both as an aesthetic manifesto and a curatorial promise. From its very first steps, the project reveals a particular sensitivity toward detail, atmosphere, and those forms of electronic music that derive their strength from subtlety. There is a sophistication here that never feels performative. Instead, it emerges gradually from below the surface, much like the unseen currents capable of shaping entire landscapes.

https://clubfuries.com.mx/2026/05/28/cfs-opalo-piano-works-3-caracteres/

Its inaugural release comes from Ópalo, the Quito-based producer already familiar to our pages and seemingly destined to open this new chapter. The Ecuadorian artist delivers a body of work centered on warmth, elegance, and the evocative power of sound. Through compositions that feel relaxed yet meticulously crafted, the EP reconnects with sensibilities often lost to time. There is something deeply cinematic about these tracks, as though they belonged to an old VHS tape rediscovered after years in storage, still carrying traces of its original glow.

https://soundcloud.com/clubfuriess/cfs-opalo-desire-nettuno

The collection begins with Desire, a piece that immediately establishes the emotional tone of the release. Delicacy and subtlety move together until sophistication and sensuality become inseparable qualities. Synthesizers drift effortlessly across a spacious and luminous sound field, sketching urban landscapes that feel strangely pristine, almost impossible, suspended somewhere outside conventional time. The feeling is not exactly nostalgic. It is closer to the sensation of recognizing a memory that remains frustratingly out of reach.

Everything shifts when the vocals arrive. Their presence introduces a more human, rough-edged, and unpredictable dimension into a structure that had previously felt carefully controlled. There is an improvised quality to their appearance, a spontaneity that cracks the polished surface and allows fresh air to enter the composition. From that moment onward, the track gains a different kind of depth. The initial ethereality remains intact, yet it becomes more tangible, more embodied. As though beneath the elegant architecture of the music, the listener suddenly discovers the presence of those who inhabit it.

Label: Nettuno
Artist: Ópalo
Title: Sitcom

Release Date: June 24, 2026
Support & Buy: Bandcamp

Tracklist
1. Ópalo – Desire
2. Ópalo – SMS
3. Ópalo – So Beautiful
4. Ópalo – Heart 2 Heart

Ópalo

SoundCloud | Instagram | Bandcamp | Linktree | Caracteres

Nettuno

SoundCloud | Instagram | Bandcamp | taru

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: 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: 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: SLV – Red Clouds [Illegal Alien Records]

From an early age, SLV developed a close relationship with music. He grew up in an environment where records, rhythms, and curiosity about sound were part of everyday life. His father and uncle, both passionate music lovers, introduced him to the creative processes that take place behind every production, nurturing an interest that would eventually evolve into a lifelong artistic vocation. That early fascination with the hidden mechanics of sound remains evident throughout his work, where every detail appears shaped by a deliberate search for balance, tension, and movement.

Over the years, the Sicilian producer has built a distinctive identity through the convergence of different currents within electronic music. His work combines the rhythmic solidity of techno with a melodic sensitivity inherited from broader club traditions, resulting in compositions and DJ sets defined by precise grooves, gradual development, and a strong sense of sonic storytelling. His influences range from foundational figures of electronic music to contemporary artists who continue to push the genre forward, a balance that allows his sound to feel both familiar and forward-looking.

https://clubfuries.com.mx/2026/04/14/cfp-dj-dextro-sintetico-iarltdt021/

Now, Illegal Alien Records presents a new 12-inch vinyl release from one of the most consistent names in contemporary techno. With releases on respected labels such as Soma, Mutual Rytm, Clergy, and Minsubasa, SLV has established a reputation built on quality, consistency, and a sonic identity that remains instantly recognizable.

His debut for the Mexican imprint arrives under the title Iterum, a four-track EP where firm rhythms, refined structures, and progressive tension converge into a body of work designed for continuous motion. More than a simple addition to the catalogue, the release represents the meeting point of two visions that understand techno as an exercise in precision, depth, and longevity.

https://soundcloud.com/clubfuriess/cfs-slv-red-clouds-iarltd022

Red Clouds captures many of the EP’s defining qualities with remarkable clarity. Its title feels almost like a sonic image before the music even begins. Dense and persistent clouds drifting slowly across the horizon, carrying an energy that never needs to erupt in order to be felt. From the opening moments, the track establishes a constant sense of suspension, where every element seems perfectly positioned within the larger structure.

Textures expand with subtle elegance, rhythms advance with determination, and tension accumulates gradually without relying on sudden gestures. A quiet effervescence runs beneath the entire composition, remaining carefully contained beneath its polished surface. That ability to sustain energy without exhausting it becomes one of the track’s greatest strengths. The result is a deeply hypnotic piece of techno where power emerges through precision, and where continuous progression becomes a form of irresistible gravitational pull.

Label: Illegal Alien Records / Illegal Alien LTD
Artist: SLV
Title: Iterum
Genre: Techno
Format: Vinyl 12′ / Digital WAV/AIFF/MP3
Catalogue: IARLTDT022
Mastering: The Programnator
Artwork Designed: Rommulo

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

SLV ‘Iterum’ | IARLTDT022

A1. SLV – Cropped (Original Mix)
A2. SLV – Red Clouds (Original Mix)
B1. SLV – Cicles of Life (Original Mix)
B2. SLV – Silent Cosmos (Original Mix)

Written & Produced by SLV
Artwork design by Rommulo
Mastering by The Programnator
Vinyl Distribution by Triple Vision
Limited Copies

Illegal Alien Records 2026 | Published by Copyright Control

www.illegalalienrecs.com

SLV

SoundCloud | Instagram | Facebook | Bandcamp | Linktree

Illegal Alien Records

SoundCloud | Website | Bandcamp | Instagram | Facebook | YouTube | Beatport

Club Furies

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

CF Signals: SLV – Red Clouds [Illegal Alien Records]

From an early age, SLV developed a close relationship with music. He grew up in an environment where records, rhythms, and curiosity about sound were part of everyday life. His father and uncle, both passionate music lovers, introduced him to the creative processes that take place behind every production, nurturing an interest that would eventually evolve into a lifelong artistic vocation. That early fascination with the hidden mechanics of sound remains evident throughout his work, where every detail appears shaped by a deliberate search for balance, tension, and movement.

Over the years, the Sicilian producer has built a distinctive identity through the convergence of different currents within electronic music. His work combines the rhythmic solidity of techno with a melodic sensitivity inherited from broader club traditions, resulting in compositions and DJ sets defined by precise grooves, gradual development, and a strong sense of sonic storytelling. His influences range from foundational figures of electronic music to contemporary artists who continue to push the genre forward, a balance that allows his sound to feel both familiar and forward-looking.

https://clubfuries.com.mx/2026/04/14/cfp-dj-dextro-sintetico-iarltdt021/

Now, Illegal Alien Records presents a new 12-inch vinyl release from one of the most consistent names in contemporary techno. With releases on respected labels such as Soma, Mutual Rytm, Clergy, and Minsubasa, SLV has established a reputation built on quality, consistency, and a sonic identity that remains instantly recognizable.

His debut for the Mexican imprint arrives under the title Iterum, a four-track EP where firm rhythms, refined structures, and progressive tension converge into a body of work designed for continuous motion. More than a simple addition to the catalogue, the release represents the meeting point of two visions that understand techno as an exercise in precision, depth, and longevity.

https://soundcloud.com/clubfuriess/cfs-slv-red-clouds-iarltd022

Red Clouds captures many of the EP’s defining qualities with remarkable clarity. Its title feels almost like a sonic image before the music even begins. Dense and persistent clouds drifting slowly across the horizon, carrying an energy that never needs to erupt in order to be felt. From the opening moments, the track establishes a constant sense of suspension, where every element seems perfectly positioned within the larger structure.

Textures expand with subtle elegance, rhythms advance with determination, and tension accumulates gradually without relying on sudden gestures. A quiet effervescence runs beneath the entire composition, remaining carefully contained beneath its polished surface. That ability to sustain energy without exhausting it becomes one of the track’s greatest strengths. The result is a deeply hypnotic piece of techno where power emerges through precision, and where continuous progression becomes a form of irresistible gravitational pull.

Label: Illegal Alien Records / Illegal Alien LTD
Artist: SLV
Title: Iterum
Genre: Techno
Format: Vinyl 12′ / Digital WAV/AIFF/MP3
Catalogue: IARLTDT022
Mastering: The Programnator
Artwork Designed: Rommulo

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

SLV ‘Iterum’ | IARLTDT022

A1. SLV – Cropped (Original Mix)
A2. SLV – Red Clouds (Original Mix)
B1. SLV – Cicles of Life (Original Mix)
B2. SLV – Silent Cosmos (Original Mix)

Written & Produced by SLV
Artwork design by Rommulo
Mastering by The Programnator
Vinyl Distribution by Triple Vision
Limited Copies

Illegal Alien Records 2026 | Published by Copyright Control

www.illegalalienrecs.com

SLV

SoundCloud | Instagram | Facebook | Bandcamp | Linktree

Illegal Alien Records

SoundCloud | Website | Bandcamp | Instagram | Facebook | YouTube | Beatport

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 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 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

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CF Signals: Joshua Calleja – Obstacles [ANAØH]

The identity of ANAØH Records has become a beacon for those drawn to techno with emotional depth, a label that understands the dancefloor not only as a site of physical intensity but also as a space for exploration and sonic storytelling. Far removed from passing trends, ANAØH has cultivated a recognisable aesthetic built around atmosphere, narrative, and detail, bringing together artists who share a commitment to timeless sound and meticulous craftsmanship.

Joshua Calleja belongs to a generation of producers who discovered in techno a framework for developing a distinct artistic voice from an early age. Hailing from Malta, an island whose connection to club culture has deepened over decades, he absorbed influences that would later become the foundation of a highly personal sonic language. That background is evident in the ease with which he balances dancefloor functionality and atmospheric depth.

https://clubfuries.com.mx/2025/12/16/cfp-damian-vargas-deposito-anaoh/

His productions are defined by a combination of hypnotic immersion, rhythmic precision, and a sophisticated understanding of space. Tracks evolve gradually, allowing tension to emerge organically while each element unfolds at exactly the right moment. Repetition becomes a narrative device that reshapes the listener’s perception of time, while subtle modulations and textural shifts sustain a constant sense of internal movement.

With Paradox, the Maltese producer makes his debut on ANAØH through a four-track EP that explores the more spatial, minimalist, and hypnotic territories of contemporary techno. The release achieves a particularly refined balance between intensity and groove, developing its narrative with confidence and restraint. There is a clear trust in gradual construction and in the ability of sound itself to hold attention.

Across the EP, each composition functions as an individual chapter within a shared architecture. While all four tracks emerge from the same aesthetic foundation, differences in texture, atmospheric density, and rhythmic development allow each one to establish its own identity. This internal diversity keeps the journey dynamic while reinforcing the coherence of the release as a whole.

https://soundcloud.com/clubfuriess/cfs-joshua-calleja-obstacles-ana112

The structures rely on a precise use of space, where percussion, atmospheres, and melodic fragments are given room to evolve and transform. Tension is handled with remarkable control, generating a continuous sensation of movement that supports both deep immersion and dancefloor effectiveness. Joshua Calleja’s arrival on ANAØH feels like a natural extension of the artistic affinities already shared between producer and label.

From the earliest exchanges surrounding this material, the connection was evident, with Paradox providing the ideal framework for this collaboration to begin. The result is a work defined by strength and versatility, capable of moving between seemingly incompatible extremes. There is something simultaneously volcanic and glacial in its construction. Expansive energy exists alongside an almost absolute sense of control, keeping every element precisely in place.

Obstacles stands as one of the defining moments of a release that remains captivating from beginning to end. From its opening moments, vast and immersive landscapes unfold around persistent rhythms that advance with near-inevitable momentum. What makes the track remarkable is the way Joshua Calleja sustains multiple dualities without allowing any of them to overpower the others. The piece feels warm and cold, luminous and shadowed, sharp and deeply inviting at the same time. Textures drift with apparent lightness while the rhythmic foundation preserves the unmistakable weight of techno. Every sound appears carefully sculpted, every transition guided by its own internal logic. This coexistence of delicacy and force becomes one of the EP’s greatest achievements. It is more than technical balance. It reflects a profound understanding of how tension can inhabit opposing directions simultaneously, creating an experience that continues to resonate long after the final sound has faded.

Label: ANAØH
Artist: Joshua Calleja
Title: Paradox
Catalogue: ANA142

Release Date: June 12, 2026
Support & Buy: Bandcamp

Tracklist
1. Joshua Calleja – Light Bearer (Original Mix)
2. Joshua Calleja – Obstacles (Original Mix)
3. Joshua Calleja – Paradox (Original Mix)
4. Joshua Calleja – Self Sabotage (Original Mix)
5. Joshua Calleja – Unpopular (Original Mix)

Joshua Calleja

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ANAØH

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Club Furies

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CF Signals: Dave Mech – Berlin Seite Part 2 (Live at Oxi Berlin)

Dave Mech’s trajectory is defined by a rare combination of artistic exploration and educational commitment. Beyond his work as a producer, where he investigates the possibilities of techno, modular synthesis, and complex sonic architecture, Mech has built an influential educational platform that has helped bring advanced sound-design techniques to new generations of artists. Both aspects of his practice are connected by the same philosophy. Curiosity as method, experimentation as language, and sound as a living material in constant transformation.

His latest release on Diffuse Reality Records finds a natural home within that vision. Both artist and label share an interest in open-ended processes, conceptual depth, and forms of electronic music that prioritise exploration over immediacy. The result is a collaboration that fits seamlessly into a catalogue that has become one of the most expansive and forward-thinking archives of contemporary electronic music.

The relevance of Diffuse Reality Records within today’s landscape is built upon relentless activity and a curatorial vision capable of encompassing industrial techno, abstract ambient, and multiple forms of sonic experimentation. Beyond the sheer volume of releases, what truly distinguishes the label is the consistency of its identity. Its catalogue behaves like a constantly evolving organism, moving between mechanical tension, emotional density, and abstraction without ever losing coherence.

https://soundcloud.com/clubfuriess/cfs-dave-mech-berlin-seite-part-2-drea027

Berlin Seite emerges from an idea that is both simple and demanding. To capture the energy of a live techno performance without altering what happens between the machines, the artist, and the dancefloor. The ten tracks of the digital edition and the four selections chosen for the vinyl EP were recorded directly from real performances, preserving the imperfections, fluctuations, and tensions that are often removed during later stages of editing. Rather than documenting a live set, the project seeks to preserve a collective state of connection in its most immediate form.

Within that journey, Berlin Seite Pt. 2 stands out through a particularly immersive quality. From the opening moments, a persistent drone fills the space and slowly expands around the listener. High frequencies arrive charged with intensity while retaining an unexpected warmth. The track unfolds like a hypnotic techno drill, continuously modulating its own aggression in order to sustain tension rather than release it. Sounds organise themselves into circuits that fold and expand repeatedly, creating an enveloping architecture where movement ceases to feel linear and instead becomes a self-contained reality. This is where the track reveals its greatest strength. Not through immediate impact, but through its ability to construct an environment that gradually absorbs perception itself.

Label: Diffuse Reality
Artist: Dave Mech
Title: Berlin Seite
Format: Digital Album & Vinyl EP
Catalogue: DREA027
Distribution: LabelWorx, Clone
Domain Label diffusereality.net
Domain Artist davemech.live

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

Tracklistings
1. Berlin Seite Part 1 (Live at Oxi Berlin) A1 Berlin Seite 3
2. Berlin Seite Part 2 (Live at Oxi Berlin) A2 Roots
3. Berlin Seite Part 3 (Live) B1 Concrete Jungle
4. Roots (Live at Oxi Berlin) B2 Sledgehammer
5. Inner City (Live at Oxi Berlin)
6. Concrete Jungle (Live at Aeden Berlin)
7. Sledgehammer (Live at Aeden Berlin)
8. Off Into The Woods (Live at Oxi Berlin)
9. Deep Into Woods (Live at Oxi Berlin)
10. In Between (Live at Oxi Berlin)

Vinyl EP
A1. Berlin Seite Part 3 (Live)
A2. Roots (Live at Oxi Berlin)
B1. Concrete Jungle (Live at Aeden Berlin)
B2. Sledgehammer (Live at Aeden Berlin)

Upcoming Shows
ATR – OXI Berlin – 7-5-2026
Depot – OXI Berlin – 11-6-2026
Union Audio Live Showcase (Off Sonar)- CutOff Store Barcelona – 18-6-2026
Open Forms Utrecht 27-06-2026
ATR – About Blank – 30-7-2026
ATR – About Blank – 16-10-2026 (as Control // Modify)
ATR – About Blank – 12-12-2026

Dave Mech

Website | SoundCloud | Instagram | Threads | YouTube | Facebook | Bandcamp | bio.site

Diffuse Reality Records

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Club Furies

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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: 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: 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: Neko.ea – Pedalaman [T&NE RECORDS]

Within the landscape of contemporary techno, T&NE RECORDS has established itself as an essential platform for listeners seeking an experience rooted in the genre’s purest foundations. Guided by the philosophy of Techno & Nothing Else, the label has cultivated a distinctive identity through releases that explore the most hypnotic, mental, and groove-driven dimensions of techno. Its catalogue maintains a strong sense of coherence while embracing the diversity of perspectives that continue to shape the global scene.

https://clubfuries.com.mx/2026/04/16/cfp-kazu-lambdoid-tnerec-039/

Through consistent and thoughtful curation, T&NE Records has become a meeting point for both emerging and established artists, united by a shared commitment to sonic depth and dancefloor functionality. Each release expands an ongoing dialogue around movement, repetition, and techno’s ability to generate altered states of perception. More than a catalogue, the label has developed a language of its own within contemporary club culture.

Its latest Various Artists compilation brings together nine different projects under a common aesthetic direction. As expected, techno remains the central axis, though the tracks move through a range of intensities and textures. Hypnotic grooves, dark atmospheres, and occasional touches of psy techno coexist within a journey designed around immersion and gradual tension.

https://soundcloud.com/clubfuriess/cfs-nekoea-pedalaman-tnrec040

Among the contributors is Neko.ea, an artist whose work balances synthetic textures and rhythmic propulsion with remarkable precision. Her productions move effortlessly between introspective spaces and moments of greater intensity while maintaining a meticulous approach to sound design. There is a distinctive sensitivity in the way her music creates depth without sacrificing momentum, allowing the experience to resonate both mentally and physically.

Her contribution to this compilation is a perfect example of that approach. From the opening moments, a deeply hypnotic atmosphere emerges, positioned somewhere between introspection and the dancefloor. The progression unfolds with confidence, sustaining tension without ever relying on excess. The track carries an undeniable presence, expressed through subtle details, carefully sculpted textures, and a sonic architecture that evolves patiently over time. The result serves as an ideal introduction to the compilation, reinforcing both Neko.ea’s artistic identity and the ongoing evolution that continues to define T&NE RECORDS.

Label: T&NE RECORDS
Catalog: TNEREC-040
Format: Digital
Genre: Electronic
Style: Techno

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

Tracklist
1. Neko.ea – Pedalaman
2. Thommy Coconut – Weniger
3. AKZ – Baba Yaga
4. WATZKY – Strength of Athena
5. Tony Miler – Easter Egg
6. Ombrar – Flooded Tunnel
7. Ikram Shinwari – Unconscious Lie
8. MTRZ – Not Today
9. Aldo – WW. Wall

Credits
Produced & Mixed by Various Artists
Mastering by Acid Discipline Studio
Art Cover by Matthieu R.

Neko.ea

SoundCloud | Instagram

T&NE RECORDS

SoundCloud | Instagram | Bandcamp | Facebook

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: 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