#premiere-club-furies — Public Fediverse posts

Club Furies Mix Series: Cintas Furiosas Present cat can do

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

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

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

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

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

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

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

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

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

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

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

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

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

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

cat can do

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Club Furies

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

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

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

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

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

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

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

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

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

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

Pre Order Links Vinyl: Deejay | Juno | Decks

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

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

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

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

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

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

.

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

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

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

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

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

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

Teseracto

SoundCloud | Instagram | Beatport

Denkō Recordings

SoundCloud | Instagram | Bandcamp 

Club Furies

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

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

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

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

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

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

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

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

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

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

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

Mxm Fernandez

SoundCloud | Instagram | Facebook | Bandcamp

Cucurbitacea

Instagram | Bandcamp

Club Furies

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

CF Premiere: Jëan Fixx – Pink Noise [INNFLEXIA]

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

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

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

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

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

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

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

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

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

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

Tracklist

Jëan Fixx

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

INNFLEXIA

SoundCloud | Instagram | YouTube

Club Furies

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

CF Interview | apaull: «Do you have the gunfactor?» On Furnace Room Recordings

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

https://youtu.be/xuALldIl4Uw

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

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

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

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

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

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

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

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

apaull

Website | SoundCloud | Instagram | Facebook | Bandcamp | Linktree

Furnace Room Records

Instagram | Facebook | Beatport

Club Furies

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

CF Premiere: Carara, Valentin Zad – Natural Resources [trau-ma]

Some collaborations add. Others multiply. This is the second kind. When two artists with such distinct individual talent decide to work together, the result could go in any direction —and here it goes in exactly the right one. We’re talking about Carara and Valentin Zad, two Germany-based artists whose union for this release doesn’t sound like an experiment or an opportunity: it sounds like something that had to happen.

The label hosting them says everything about the level of the bet. Trau-ma is one of those imprints that exists in the circuit for the right reasons —not for volume of releases but for consistency of judgment and quality of catalog. That Carara and Valentin Zad choose this space to present their collaboration is, in itself, a statement of intent. Two top-tier talents on one of the best labels in the circuit: the equation is as simple as it is powerful.

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

The result is titled Delusión —a three-track original collection: Delusion, Hidden Pains, and Natural Resources. Few tracks, no filler, all the density concentrated in exactly the right space. This is the kind of EP that doesn’t need length to justify itself —it justifies itself track by track, layer by layer.

https://soundcloud.com/clubfuriess/cfp-carara-valentin-zad-natural-resources-trm388

«Natural Resources» carries a sobriety in its name that the sound confirms from the very first second. Its sounds are constant, precise, and piercing —they don’t run loose, don’t frenzy easily, don’t reach for easy impact. But that contained edge strikes with a certain violence mediated by impeccable sound design that knows exactly how much pressure to apply and when to release.

The track stabilizes at very high notes of intensity, and from there its climax doesn’t explode —it becomes an ethereal valley, interrupted in time and space as if someone had paused the universe for an instant. What follows is the synthesis of multiple determinations converging into a final texture, built on a parallel running through the entire sonic structure and its layers that, somehow, seem to have frozen in time, advancing in an alternate manner —neither forward nor backward, but in a direction only this track knows.

Artist:
Carara, Valentin Zad
Label: trauma
Title: Delusion
Format: Digital

Catalogue:
TRM388

Release Date: May 8th, 2026
Support & Buy: Bandcamp

Tracklist:


1. Delusion
2. Hidden Pains
3. Natural Resources

Carara

SoundCloud | Instagram | Facebook | Beatport

Valentin Zad

SoundCloud | Instagram

trau-ma

SoundCloud | Instagram | YouTube | Facebook | Bandcamp

Club Furies

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

CF Signals: DJ SUNSHINE – Sloppy Day In UK [OMERTA]

From Russia, OMERTA continues shaping a catalog where emotion moves as a subtle yet persistent current. Its motto—“My sorrow is light!”—finds a precise translation in DJ Sunshine. UK N/A, a five-track release, unfolds as an exercise in temperature: a light that settles into dense surfaces and moves through them from within.

The record operates within compact digital textures, where warmth begins to circulate rather than break through. A memory of classic house pulses beneath the surface, embedded in the present as active motion. The sound carries a familiarity that emerges through the body before it registers as reference.

https://clubfuries.com.mx/2026/02/23/cfp-ronin-the-pain-inside-outro-omerta/

Its structure rests on wide, grounded basslines that anchor the dancefloor. Around them, analog layers introduce a soft grain, almost tactile, while vocals surface as orientation points within the flow. Everything advances with clarity, allowing each element to settle into place and build a continuous expansion.

Movement develops without abrupt gestures. The groove opens and sustains itself, creating a steady circulation of energy. The dancefloor responds through prolonged attention, where warmth accumulates and redistributes with each transition. DJ Sunshine shapes this space with precision, adjusting density while preserving lightness.

https://soundcloud.com/clubfuriess/cfp-dj-sunshine-sloppy-say-in-uk-omerta

Within this framework, “Sloppy Day in UK” reveals a particularly refined quality. The track glides with a softness that seems to hover over its own rhythm, while maintaining an internal electric charge that gradually activates the body. Its progression remains steady, grounded yet fluid.

Vocals appear as intermittent flashes, fragments of memory cutting through the surface. They introduce an expanded sense of time, where past and present vibrate together. The texture remains clean and luminous, giving each layer room to breathe.

The result is a piece that integrates seamlessly into the release, reinforcing its identity through nuance. UK N/A finds its persistence in these details—a warmth that lingers, a light that continues to move long after the track fades.

Label: OMERTA
Artist: DJ SUNSHINE
Title: UK N/A
Catalogue:

Release Date: April 28, 2026
Support & Buy: Bandcamp

Tracklist
1. DJ SUNSHINE – Sloppy Day In UK
2. DJ SUNSHINE – The Feelin
3. DJ SUNSHINE – To Motion
4. DJ SUNSHINE – Be Radiant
5. DJ SUNSHINE – Free

Credits
OMERTA RECORDS
Founder: Gal
Co-founder: Ruksby
Artwork by www.instagram.com/mosin.tattooer
Mastered by Snarexx

DJ SUNSHINE

SoundCloud | Instagram

OMERTA RECORDS

SoundCloud | Instagram | Bandcamp

Club Furies

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CF Signals: n-trip – Amplify [Armen Crew]

ntrip² doesn’t start from a fixed place: it builds itself in the in-between space. It doesn’t seek to define itself but to displace —and that, precisely, is its clearest statement of intent. From there, n-trip arrives at Armen Crew with a four-track EP that moves along the edges: electro, techno, and breakbeat in constant tension, without settling into any one of them. This is not indecision —it’s a deliberate stance against the comfort of categories.

https://clubfuries.com.mx/2021/08/02/premiere-club-furies-john-deere-420-tribute-to-konoha-la-grande-gudule-x-garage-83-c-x-armen-crew/

Composed on Gadigal land, the release works from a clear idea: movement within ambiguity. Rhythms mutate, textures collide, and tension accumulates at that precise point where structure ceases to be rigid and flow takes control. There is no linearity here, only transitions —and that difference is not a small one. Each track operates as an open system in permanent adjustment, responding to its own unfolding rather than to any preset form. The result is music you can’t fully anticipate, and which for that very reason keeps attention alive from beginning to end.

https://clubfuries.com.mx/2024/04/01/club-furies-premiere-ert-introspection-armen-crew/

The expansion arrives with remixes from Ritmu, Interimm, and Capon, which don’t reinterpret but reconfigure. From a minimalist and cognitive precision to passages that are more melodic and emotionally charged, each version shifts the axis without breaking the continuity of the whole. These aren’t alternative readings of the same material: they are sonic states in transformation, where boundaries dissolve and energy remains in constant motion. An EP that grows beyond itself.

https://soundcloud.com/clubfuriess/cfp-n-trip-amplify-arm009

«Amplify» functions as exactly what its name announces —an amplifier. But it does so from a completely unexpected place: not through volume or raw intensity, but through a patient, sober, and masterfully handled sound design that amplifies from within, almost in silence. Throughout the entire track, electro and techno blur subtly into a connivance so natural it never feels forced —they coexist as if they had always spoken the same language. And when the synthesis arrives, it does so amid cybernetic decouplings in the sonic circuits that don’t close the track but open it toward another dimension —one the ear takes a second to recognize, but the body grasps immediately.

Label: Armen Crew
Artist: n-trip
Title: ntrip² EP
Catalogue: ARM009
Remixes: Ritmu, Interimm, Capon
Genre: Techno, Electronic Breakbeat
Digital Only

Release Date: April 30th, 2026
Support & Buy: Bandcamp

Tracklist
1. Limit
2. Amplify
3. de-esc2b
4. Ionosphere
5. Ionosphere (Ritmu remix)
6. Limit (Interimm Forest remix)
7. Ionosphere (Capon remix)

Credits
Mastering: Simon Hamelin @ HDN Mastering
Ritmu remix > Mastered @ Booker Audio
Artwork & Design : n-trip & Formanoire}

n-trip

Instagram | Linktree

Armen Crew

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Club Furies

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CF Premiere: THISISTHX – IC 4351 [Illegal Alien Records]

THISISTHX does not arrive as a newcomer—he returns with intent and a sharper sense of direction. His second appearance on Illegal Alien Records is not a repetition but a statement of progression, reinforcing a trajectory that has been both consistent and deliberate. From Portugal, his project has taken shape through a clear vision: forward-driven, precise techno with no detours or compromises. The evolution is evident—a defined artistic identity and sustained momentum that places him within a new generation that doesn’t wait for space, but actively builds it.

https://clubfuries.com.mx/2025/09/02/cfp-thisisthx-unknown-balances-cfs10/

His sound operates within a clearly defined field: raw, tense, and stripped of ornamentation. Percussive rhythms push forward with force, supported by a mental layer that maintains constant pressure and an energy that refuses to dissipate. There are no unnecessary peaks here—only control, measured intensity, and a sharp understanding of techno’s essential dynamics. Each track reflects this balance, delivering both physical impact and conceptual clarity.

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

With Point of No Return, a four-track EP, THISISTHX further solidifies this language. These are tracks built for high-impact environments, yet grounded in structural coherence and discipline. Rather than a final destination, the EP acts as a threshold—a decisive step forward that projects his evolution while reinforcing his place within contemporary techno. On Illegal Alien Records, the relationship doesn’t repeat—it deepens. The result is a collection of brutal, hypnotic cuts moving in parallel through unknown territories, somewhere between ancestral deserts and unexplored sonic landscapes.

https://soundcloud.com/clubfuriess/cfp-thisisthx-ic-4351-iar396

IC 4351 unfolds as a smooth yet deeply hypnotic piece. Subtle layers accumulate with effortless fluidity as the rhythm progresses toward what feels like purple-tinted, almost utopian terrains. The climax arrives quickly, yet in a gradual, velvety manner. Beyond that point, the sound dissolves into ethereal atmospheres and suspended time, where body and mind remain motionless, absorbed. This state extends ad infinitum, ultimately taking full control over both psyche and physical response.

Label: Illegal Alien Records
Artist: THISISTHX
Title: Point of No Return
Genre: Techno
Format: Digital WAV/MP3
Catalogue: IAR396
Mastering by The Programnaitor
Artwork Design by Rommulo

Release Date: April 24th, 2026
Support & Buy: Bandcamp

Tracklist
1. Hydra
2. IC 4351
3. Point Of No Return
4. Regor

THISISTHX

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Illegal Alien Records

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

Club Furies

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