Tresor (German for safe or vault) is an underground techno nightclub and record label. The club was founded in March 1991 in the vaults of the former old Wertheim department store in Mitte, the central part of the former East Berlin.
Almost 20 years on, Tresor continues to be a popular club to this day, having expanded and reconstructed continuously several times to include an outdoor garden area, and a second "Globus" floor.
Tresor Records was founded soon after the club first opened, in October 1991. Featured artists on the label include Jeff Mills, Juan Atkins, Robert Hood, Stewart Walker, Joey Beltram, Pacou, Blake Baxter, Cristian Vogel and many others.
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4x12"
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TRESOR 300X-LP
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$48.00
PREORDER
RELEASE DATE: 8/26/2022
Originally reissued to mark the 300th release on Tresor Records and the 20th anniversary of the mysterious Scopex imprint, Tresor present the long-awaited repress of the Scopex 1998-2000 release. The three essential Scopex records and the previously unreleased track "Optimal Flow" are now completed by "Pressure Point", a new track on the H-side, available on vinyl for the first time on the 2022 edition. Re-mastered from the original DAT tapes, the four records come together in a beautiful gatefold sleeve featuring the original and idiosyncratic Scopex designs with delicate spot UV print. Includes: Simulant's Simm City (12"), Simulant's Out Of Ether (12"), Pollon's Electratech (12"), Simulant's Optimal Flow/Pressure Point (12").
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12"
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TRESOR 327EP
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$17.50
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RELEASE DATE: 8/5/2022
Vibrant acid tracks knead muscular electronic dance structures on Gerald Brunson's debut EP. A member of the Model 500 extended family and running Dance Sacred Records, Brunson presents a restless world that beckons forth from the underground of the Midwest, full of bouncing flair and techno passion. "Hoffman's S.O.S. (Scully, Owsley, Sand)" is more than a mere nod to the alchemists participating in the League for Spiritual Discovery and The Brotherhood of Eternal Love. It induces a pristine acid trip that twists neurons about agitated filtered effects and effective rhythmic structures. Finally, it emerges into wondrous vistas of ever-expanding horizons. "Blue Striped Felix" worms deep into the groove with the same brawn, its components lean and unceasing. Over on the flip side, "2way" struts a mean dance, stripping out the previous track's acid melodies into something far more focused on repetition with an electro influence shining through. This electro sound beams forward even more into a mutant funk on "Morf". The synths move squeakily as if the machine got jammed into enlightenment. Unexpected beat changes flick over to a four to the floor briefly, before out of nowhere chords invite the closing moments in with an eventual melodic response to the dancing synths. Brunson's tracks represent a unique sound. Techno is as real as the person who experiences it, and these tracks come from an enigmatic messenger who is firmly out on a limb.
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2x12"
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TRESOR 338LP
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$35.50
PREORDER
RELEASE DATE: 7/29/2022
2x12" version. 180 gram vinyl. Slinky, a new album from The Fear Ratio, the collaborative project of Mark Broom and James Ruskin, is released on Tresor Records. In their first outing since They Can't Be Saved, released on Skam in 2020 (SKALD 036CD/LP), they enlist British rapper King Kashmere, who features on two tracks. Where James Ruskin has appeared on Tresor Records for his seminal albums Point 2 (2000), Into Submission (2001), The Dash (TRES 233LP, 2008) and his recent Siklikal EP (TRESOR 314EP, 2019), the only appearance of Mark Broom on the label is a 2002 remix of "The Golden Apple" by Eddie "Flashin" Fowlkes. The duo unveiled this new work and collaboration with King Kashmere in a live show for a 30th Anniversary event for Tresor Berlin televised on Arte, performing amidst a battery of lights and fogged-up refraction. It demonstrated their rough-hewn fundamentals, roving melodies and investigative power, newly advanced by voice. "Death Switch" is the first appearance by King Kashmere, savaging questions on segregation and suffering, encoding into our brains the much-repeated refrain -- "You wanna know, why they wanna flip the death switch." "Spinning Globe" captures Kashmere in a gritty flow over a swaggering beat, bouncing and resonant. This un-sanded voice lends an enhanced texture and tension to the highly-processed sonic palette of Broom and Ruskin, accumulating with innate mettle. Elsewhere, "Appi" dredges depths as widescreen beats lurk, digital artifacts pave the way to a hauntingly melancholic coda. "Lacovset" features singer Ella Fleur who has worked with Mark Broom on his solo release Fünfzig. It enacts a pointillist gated vocal alongside dolphin-like percussive communications. On "LFIVE", the duo embalms their sonic textures with digital effects that flutter austerely with syncopation in the crosswind of a beat that recalibrates at points. An urgency slowly draws in on title track Slinky through fizzing electronics and fractured drums all corroded. "Effem" locates a semblance of euphoria, with a trance-inducing release led by swirling arpeggios. Closer "KZAP" finds the calmest moment on the record, with its wafting, nebulous synths and swamped hip hop beat. Slinky finds an ever-evolving project, The Fear Ratio shapeshifting by bringing in the voice into their work and continually pushing with their incredibly-effected rhythmic styles and peculiar, wandering synthesis.
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CD
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TRESOR 338CD
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$13.50
PREORDER
RELEASE DATE: 7/29/2022
Slinky, a new album from The Fear Ratio, the collaborative project of Mark Broom and James Ruskin, is released on Tresor Records. In their first outing since They Can't Be Saved, released on Skam in 2020 (SKALD 036CD/LP), they enlist British rapper King Kashmere, who features on two tracks. Where James Ruskin has appeared on Tresor Records for his seminal albums Point 2 (2000), Into Submission (2001), The Dash (TRES 233LP, 2008) and his recent Siklikal EP (TRESOR 314EP, 2019), the only appearance of Mark Broom on the label is a 2002 remix of "The Golden Apple" by Eddie "Flashin" Fowlkes. The duo unveiled this new work and collaboration with King Kashmere in a live show for a 30th Anniversary event for Tresor Berlin televised on Arte, performing amidst a battery of lights and fogged-up refraction. It demonstrated their rough-hewn fundamentals, roving melodies and investigative power, newly advanced by voice. "Death Switch" is the first appearance by King Kashmere, savaging questions on segregation and suffering, encoding into our brains the much-repeated refrain -- "You wanna know, why they wanna flip the death switch." "Spinning Globe" captures Kashmere in a gritty flow over a swaggering beat, bouncing and resonant. This un-sanded voice lends an enhanced texture and tension to the highly-processed sonic palette of Broom and Ruskin, accumulating with innate mettle. Elsewhere, "Appi" dredges depths as widescreen beats lurk, digital artifacts pave the way to a hauntingly melancholic coda. "Lacovset" features singer Ella Fleur who has worked with Mark Broom on his solo release Fünfzig. It enacts a pointillist gated vocal alongside dolphin-like percussive communications. On "LFIVE", the duo embalms their sonic textures with digital effects that flutter austerely with syncopation in the crosswind of a beat that recalibrates at points. An urgency slowly draws in on title track Slinky through fizzing electronics and fractured drums all corroded. "Effem" locates a semblance of euphoria, with a trance-inducing release led by swirling arpeggios. Closer "KZAP" finds the calmest moment on the record, with its wafting, nebulous synths and swamped hip hop beat. Slinky finds an ever-evolving project, The Fear Ratio shapeshifting by bringing in the voice into their work and continually pushing with their incredibly-effected rhythmic styles and peculiar, wandering synthesis.
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12"
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TRESOR 333EP
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$18.00
PREORDER
RELEASE DATE: 7/15/2022
Tresor Records announce 333 Mirrors from Torus, the artist alias of Joeri Woudstra. Coupled with its catalog number "333", it indicates the large-scale conceptual thoughts behind the record, typical of Woudstra's practice. As an artist, he sets out to frame re-interpretable references that trigger some subconscious recognition in listeners, with no set way to interpret them but leading to singular feelings and thought processes. The effect, a combination of static electronic sounds and looser field recordings, speaks to each listener differently. 333 Mirrors is, in part, the continuation of a project called "These Cars Do Not Exist", made with videographer Mark Prendergast during the Covid-19 limbo. The live performed short film sold out selected pop-up cinemas in 2020 in a short sprint of shows. Two of the tracks on that project, "Sound Of The Drums" and "Chroniko", are re-imagined on 333 Mirrors, emanating as versions created in live performances. Set to be released as a single, "Chroniko VIP" will be accompanied by an enduring theme from that project, the three-winged bird, this time deceased. On 333 Mirrors, in exploring the ambient, stretched sonic universe of this project more, Woudstra moves from these three-winged birds to the phoenix, finding a rebirth on the B-side with tracks that inhabit a similar sound as "Deep Mid", Torus's inclusion on the recent Tresor 30 compilation (TRESOR 330LP). The sound of Torus places importance on the multi-faceted approach to sampling, pushing the idea behind the practice beyond usual boundaries. How to break the unwritten rules? Woudstra looks within by resampling previous Torus releases and reverse-engineering the sounds of the most revered pop and electronic musicians alive today, references that trigger recognition, melancholy, and nostalgia in the listener. "3000 Mirrors" features a staccato arpeggiating rigid pattern, the sonic effect of standing in front of a strobe until it becomes the anchor. Silence and interruption are used as a device to explore the physically uncomfortable, more the central compositional tool than the disrupted harmonic structures. Woudstra has never stepped foot in Tresor, so when writing this record, an enduring question spoke to him, what is Tresor when you have never been? How do you sample the essence of an unknown location? The closing track, "Omnia", is the sound of anticipation, where the rave beckons. This imagined industrial space is calling for you. 180 gram viny; T30 obi strip; full printed sleeve.
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12"
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TRESOR 335EP
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$17.50
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RELEASE DATE: 6/24/2022
Free Your Mind is dedicated to everyone dealing with hidden illness. Free Your Mind is dedicated to anyone processing loss. Free Your Mind is dedicated to those who give new meaning to old ideas. Free Your Mind is dedicated to everyone who finds their strength in the sound. Free Your Mind is dedicated to those willing to listen. Free Your Mind is dedicated to those who want to learn. Free Your Mind is dedicated to escaping what's holding you back. Free Your Mind is dedicated to letting go. Free Your Mind is dedicated to alien perspectives. Free Your Mind is dedicated to Detroit and the pioneers of electro. Free Your Mind is dedicated to Elizabeth Flanagan.
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12"
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TRESOR 329EP
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Propulsive techno solicitations abound on Ideoma, the debut EP from Oscean, a collaboration from Sebastián Galante, also known as Seph, and Andrés Zacco. The two are figureheads of Argentina's techno sound, with releases on labels such as Insurgentes, Echocord Colour, and Ilian Tape over the last decade. Galante and Zacco join forces for the first time with inspiring effects, moving forward with vast paces, unshifting footsteps, with uneven prisms of electronic rhythm. Its direct intent and crisp sonic detail conjure a cinematic and nocturnal drive, unearthing subterranean pulses that leave all in its wake. With Ideoma, Tresor presents a whirlwind of dense movement and cosmic energy that twists on percussive bends and distorting spirits. "Spiral" recalls natural phenomena, bound tight, with a rugged texture like no other, as flickers of sound processing suggest lift-off. The flanging "Feral" exudes a potent demeanor, wicked and unceasing. The ebbing melodics of "Spacion" hark back to '90s ambient techno and yet possess a rhythmic cut and thrust that navigates unchartered terrain. Transmuting beyond planet earth, further into the extra-terrestrial, Galante and Zacco mask fractal brush- strokes with hurrying rhythms. They smear primitive and sharp sonics, pressed with dizzying resilience. The nosediving FM synths of "Austraal" beckon a haunting trip, cloaked in a trance of motion and forever eschewing all prediction.
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12"
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TRESOR 325EP
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$16.00
PREORDER
RELEASE DATE: 4/8/2022
As the z-axis of our planet tilts away, and a gulf of dusty earth, air and searing fire is revealed before us, Minimal Violence holds an unflinching stare, unveiling Phase Three in an act of pure psychic release. Consecutive of the destruction of Phase One (TRESOR 317EP) and the restructuring of Phase Two (TRESOR 317EP) it only seems appropriate that the third phase of the series finds the project reaching a state of transcendence and transition as it also aligns with the shift from a duo to the solo venture of Ash Luk following the departure of co-founder Lida P. This third EP of the DESTROY ---> [physical] REALITY [psychic] <--- TRUST series launches straight into the 145 bpm stomper Flatline. It is a track founded by a family spirit, with lyrics co-written with Luk's mother and their stepfather Mad Johnny on vocals and guitar. It draws a hoarse chant of passion, "... nothing matters ... I still love you ... resuscitation ... resurrection ..." in answer to arching melodic euphoria. "Cold (sex)" follows down a scorched earth driveway into distorted whistles, detuned melodies and some of the best sequencer abuse out there. "We Suffocate on the Violence of Light" reveals perhaps the finest expedition so far in Minimal Violence's particular vein of acid-singed euphoric trance. Its synths smeared and merged unholy, where the drums meddle with the tensions between drum and bass and nail to the ground four to the floor rhythm. "Focus On That Form" pummels hard within a deep noise volley, scratching hard to rid its environments of any longer lasting luster. As ever, the transformative sound of Minimal Violence emerges deep from fire. Denying any uncertain embers an escape route, Luk casts anew from a seemingly unending source of unique energy. "Flatline" features Mad Johnny.
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12"
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TRESOR 332EP
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The record follows a majestic appearance on the Tresor 30 anniversary compilation and his expert devotion to the Roland TB-303, Filo Loves The Acid. True to form, 124 meddles sharp rhythmic minimalism and diverse textures, each track pushing at the epiphanic threshold as the boss of Spazio Disponibile allows his deeply intuitive productions to take effect. "messy kafka world" introduces a frenetic and concentrated atmosphere of rhythmic forces, hallucinatory and euphoric in effect. Its dizzying staccato loops are given structure by strengthening beats and bleak synthetic pillars. "synthi chase" emits radical powers, as buzzing rhythms and monotone synths make raw gestures towards altered states. It shares a kindred spirit with "cassiopeia 36", seen in particular through its determined and primitive pulses, nested within wobbling wood percussion and nervous synth repetitions. "wooden dolls don't cry" stamps a warm groove, its tempered percussion taking center stage as shimmering melodic loops threaten spiraling feedback. These dark, hypnotic tracks are flawlessly programmed to cast mesmeric momentums onto club floors and into loosened limbs. 124 represents Donato Dozzy ever-expanding his powers and musical freedom. His innate groove and inventive sound design push minimal and serene techno with a substantial weight and voice that sets him apart from others.
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2LP
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TRESOR 147LP
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Continuing the series of reissues from the Tresor catalog, Tresor Records announces an updated version of the classic Regis and Female long-player, Againstnature. Originally released in the year 2000, the album represents a pivotal moment in the emergence of the "Birmingham Sound"; a stripped-back sub-genre of techno, pioneered around this time in the English hub by artists such as Regis, Female, and Surgeon. Influenced more by industrial, music concrete, and EBM than from the melodic sounds of its Detroit predecessor, Regis later described the music as being made with a fractured pop sensibility which created a sound that may be faceless but by design loses none of the soul of its American counterpart. Nowhere is this sonic changing of the guard more apparent than in opening track, "Washing My Hands", which sets the stage with a vignette of field recordings: arc welders, water boilers and other sounds reminiscent of industrial workshops reframe your senses, placing your mind into a familiar yet unsettling dreamlike space. From this sound- scape emerges a high-pitched, vitreous noise heralding the jarring introduction of "Let Them Bleed", the first of several trance-inducing tracks on the album such as "Join Us In Paradise", and "Guiltless", which layer percussive and sampled loops creating what Peter Sutton (aka Female) described as exotic hypnotics. This remastered edition of Againstnature also features the additional track, "Theme From Streetwalker", previously only available on Volume 6 of the Tresor Compilation series. Collected together the album is a key work in the progression of this sub-genre to the dominant form of techno heard in clubs in Berlin and around the world today.
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12X12" BOX
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TRESOR 330LP
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Since 1991, Tresor has provided a home for artists to germinate their ideas for advanced new sounds and broadcast them to the world. The pioneers that first traversed the Detroit-Berlin connection and were at the forefront of a new cultural movement gave to Tresor its original and continuing mission: community, resistance and reshaping the world to come. The Tresor 30 compilation represents a major landmark in this continuing history of electronic music. This unique collection of music profiles some of the artists that gave the previous three decades of Tresor its sound and foundation, but it also casts its gaze forward. Writing new postcards from the future, this collection brings new artists who maintain a connection to that original mission to the fore, charting ways in which this ethos can continue to build bridges and break walls in the next 30 years. Bringing together 52 essential tracks -- both classics and exclusive commissions -- each of the 12 records in this box-set charts a unique line of flight from those artists that helped define the shape of this new music to those who continue to pattern its landscape further. The future is bright and it's now. Limited edition boxset, 12x12" 180 gram vinyl; silver pantone + foil on ultra-black board; includes 16-page booklet, download card, and poster double-sided 90x60.
Features Underground Resistance, Nomadico, Huey Mnemonic, D. Strange, Speaker Music, AFRODEUTSCHE, Juan Atkins, rRoxymore, Helena Hauff, Paris The Black Fu, Lara Sarkissian, Jeff Mills, K-HAND, Claude Young, Porter Ricks, Basic Channel, Moritz von Oswald, Donato Dozzy, Verraco, KMRU, Surgeon, Regis & James Ruskin present O/V/R, Claudia Anderson, machìna, Robert Hood, Function, LSDXOXO, Sophia Saze, Blake Baxter, SHE Spells Doom, DJ Minx, Whodat, Anthony "Shake" Shakir, Daniel Bell, Bergsonist, Loidis, Drexciya, Russell E.L. Butler, DJ Stingray 313, Jensen Interceptor, Terrence Dixon, Nandele, Roberto Chitsonzo, Jr., Ectomorph, Simulant, TYGAPAW, Joey Beltram, Nene H, FJAAK, Yazzus, Grand River, TV Victor, Carlota, Torus, and Mareena & JakoJako.
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2LP
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TRESOR 009LP
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2022 repress; double LP version. 180 gram vinyl; includes download code. Tresor Records reissue a classic from the early catalog, 3MB featuring Magic Juan Atkins. Initially released in 1992, Juan Atkins joined forces with Moritz von Oswald and Thomas Fehlmann, for the second iteration of the latter duo's 3 Men in Berlin project, producing a monumental collaboration between Berlin and Detroit that profoundly affected the path forward for techno music. The impact this album holds is evident in how it elevates beyond a singular or separable representation of its origins. Instead, it resonates through a collaborative nature that reflects its inherent melting pot. Where hints of each member's sound -- Atkins's mangled and bouncing funk, von Oswald's purist echoes and foundation rumblings, and Fehlmann's ambient meshes -- may be heard coalescing in a slipstream, and at other times tussling in fervent unfoldings. It may be almost 30 years old, but it remains deeply innovative at its core -- folding and warping, unrelenting from its vision. Densely packed is a propulsive drive of discordant bubbling and jazz-induced textures. Featuring much-beloved tracks such as "Jazz Is The Teacher" and "Die Kosmischen Kuriere", Atkins, von Oswald and Fehlmann forming an emission bound together as a mould of metropolis navigation. Be it amid destructed realities harboring the bleakest of nights, or long-lensed sci-fi visions, joining dots between the position of the feet and the head. The flanging pads and chirruping percussion of "Jazz Is The Teacher" lead in a moment in dance music that is as legendary as iconic, shifting into terrains far-out, receiving astral missives then rendering them to groove. Laidback, soulful and affective, it equals ultra-funky, interstellar techno that, once heard, leaves us never quite the same.
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CD
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TRESOR 009CD
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Tresor Records reissue a classic from the early catalog, 3MB featuring Magic Juan Atkins. Initially released in 1992, Juan Atkins joined forces with Moritz von Oswald and Thomas Fehlmann, for the second iteration of the latter duo's 3 Men in Berlin project, producing a monumental collaboration between Berlin and Detroit that profoundly affected the path forward for techno music. The impact this album holds is evident in how it elevates beyond a singular or separable representation of its origins. Instead, it resonates through a collaborative nature that reflects its inherent melting pot. Where hints of each member's sound -- Atkins's mangled and bouncing funk, von Oswald's purist echoes and foundation rumblings, and Fehlmann's ambient meshes -- may be heard coalescing in a slipstream, and at other times tussling in fervent unfoldings. It may be almost 30 years old, but it remains deeply innovative at its core -- folding and warping, unrelenting from its vision. Densely packed is a propulsive drive of discordant bubbling and jazz-induced textures. Featuring much-beloved tracks such as "Jazz Is The Teacher" and "Die Kosmischen Kuriere", Atkins, von Oswald and Fehlmann forming an emission bound together as a mould of metropolis navigation. Be it amid destructed realities harboring the bleakest of nights, or long-lensed sci-fi visions, joining dots between the position of the feet and the head. The flanging pads and chirruping percussion of "Jazz Is The Teacher" lead in a moment in dance music that is as legendary as iconic, shifting into terrains far-out, receiving astral missives then rendering them to groove. Laidback, soulful and affective, it equals ultra-funky, interstellar techno that, once heard, leaves us never quite the same. Double LP version comes on 180 gram vinyl; includes download code.
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12"
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TRESOR 320EP
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Dave Sumner returns with a new Function record, entitled Awakening From The Illusory Self. Released as a 12" EP on Tresor Records, it follows on from Existenz (TRESOR 315CD/LP), his last full-length album released in November 2019. Packed in a beautiful sleeve printed with three special neon colors, the EP kicks off with the fast techno of "Misinterpretations Of Reality", it features a minimal acid-infected crescendo and throbbing pulse. As ever with Function, this idiosyncratic rhythmic work finds a place out on a limb from contemporaries, shapeshifting impulses that infer and guide this raw drum sound. The second track "An Optical Illusion Of Consciousness", Function moves towards a different direction, bringing more elements to the mix. It recalls the Dutch '90s techno sound with its melodic blurred synth leanings stretching and morphing across saturated, playful drums and hefty low-end movement. Its bind is perfectly weighted, a phenomenal track that nurtures its inner dancefloor soul as melodies fade away and tighter patterns take precedence. "Spiritually Unconscious" points to all the trademarks of Function's celebrated sound. A smooth 909 groove underpins bubbling atmospheres and hallucinatory effects, and a nod to the Motor City vision with its fleeting synth strings. At the core is potent, repetitive simplicity, its beat playing with weight and dynamics but never at risk of being lost. Closing track "Compulsive Thinking: Repetitive and Pointless" kicks a juddering swagger, finding public addressed system emissions drenched in reverb resonating above bleak analogic synth drones. It haunts and creeps towards a thunderous apex, finding its depth in sparse drum movements. An enduring fixture in the techno and electronic music landscape, Sumner continues to step through new terrains, reinforcing his spike and vision. Awakening From The Illusory Self finds him as ever delivering the goods in elating moments of pure club heft. Includes download code.
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2LP
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TRESOR 323LP
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DJ Sotofett and LNS have teamed up with Tresor Records for Sputters. The double-vinyl album with 15 cuts spans a hybrid of warped electro and psychedelic hypnosis, all the while remaining fixed in an unmistakable dance release. Recorded between 2017-2020, and bookmarked throughout by intros and interludes dug out from archival material, it's a deconstructed yet classic compound of techno-sonics. LNS from Calgary, Canada, is rooted in braindance, electro and acid. DJ Sotofett, hailing from Moss, Norway, is among a myriad of things commonly known for the extended work of his Sex Tags Mania and Wania labels. Together both artists give space to a guest appearance by E-GZR, a fellow Wania artist, to open the Sputters journey. The sinus bending drum stutter of "K.O." by E-GZR collisions flanging basses and chronic-inducing synth pads to blueprint the technoid atmosphere to come. LNS and DJ Sotofett take control with "El Dubbing", evoking an effect-heavy demeanor, rubbing up against solid electrified rhythms. The hypnotic moods carry over to the deep delays of "Dúnn Dubbing", freely running over a surprisingly minimal skeleton retaining a solid direction. Crafting a warmly emotive end of Side A with sparse rhythms to perfection. A meaner turn introduces Side B. Hints of electro are scattered everywhere, fat basslines, ricocheting drums and synths that mourn and drift in and out of harmony. "Vitri-Oil" exposes a tumbling sound design, fog-lit chords of material fragility and nosedives. The side closes with "Shim", a classic drift between house and techno releasing sensual euphoria with the albums first big surprise -- grand strings. Side-C proves the artists to be some of the most singular producers around with album centerpiece The 606. Clocking in over ten minutes, it kicks off as a driving techno banger, chugging bass and big chords. Midway through everything falls away, and out of the void enter scattered drums and improv piano lines emerge, while twisted dubs lead us back in an enduringly warm groove. Side D sets the clock back to the original electroid foundation of the album, casting fires with alien vibrations. "Synchronic Bass Blort" is a hard-hitting electro track, steaming sonics and thrills, its melodic hook diving in subterranean motions. On "Sputtering" the duo raspily beams into outer space, with fizzy motives that disfigure and dazzle while the harmonies of the closing track is for yourself to experience. DJ Sotofett and LNS deliver an album inhabiting a world full of sci-fi sonics and fierce groove. 180 gram vinyl; includes download.
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12"
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TRESOR 322EP
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Minimal Violence return to Tresor Records with Phase Two of their DESTROY ---> [physical] REALITY [psychic] <--- TRUST series. This five-track 12" kicks off straight into the dust storm of "Dreams for Sale", a Lynchian trip through explosive breakbeat manipulation, sirens and cries deep into the abyss. True to form, Ashlee Luk and Lika P harness raw tensions and lock into the flow on "Mankind". An EBM monster, its bass sequences lay writhing non-stop, over a beat in full propulsion. Drawing to a close, the kick drum falls out leaving a suspended room full of action. The Canadian duo then follows up with the sensational Hard Delivery, a 175bpm hi-NRG gabber barrage. Smeared synths hint at a melody, like a pair of pitched-up foghorns beaten down in a harsh rhythm world, as disfigured barks amp up the pressure. "Prey Drive" is the straightest techno track, its industrial bassline a cornerstone to grip onto, as its elements pile in on top. Closing track "1992" wears its identity on its sleeve, a pure rave track inspired by the early '90s sound. Distorted drums and synthesized strings coat a gnarled breakbeat with paranoid malice. Sounding like nothing else right now, its influences are chewed-up and spat-out. There is no sound capable of sitting still, just a mutant sonic environment of destructive movement. 180 gram vinyl; includes download code.
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CD
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TRESOR 321CD
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Tresor Records announces From The Far Future Pt. 3, a new album from Terrence Dixon. Continuing the story of his previous two iterations on this title, it is a serene undertaking of unrivalled Motor City rhythms and sound. It finds the Detroit producer oscillating, from excursions in paradises of synth pointillism to husky storytelling and Dixon's peculiar beat work. A master in letting shapes find their form, Dixon allows the listener to wallow in recurring scenes. "Lost Communication Procedure", "Found In Space", and "Remarkable Wanderer" etch a sound world of choral vibrations and cinematic dirge. Where gaseous clouds scrape the natural sonic pastures of such environments, the hypnotized listener staggers a drunken step, moving sideways by 0 or 1 or -1 into new scenes. Not least an expert in industrial abstraction, a human silhouette permeates Dixon's sound. His ethereal storytelling portrays the heart-rending romance of "Unconditional Love" and unearths in "I'm Away In Detroit" monologuing moodscapes recalling our GPS voice assistants. "Out of Darkness" initially recalls Kraftwerk's "Geiger Counter", as from pure signal data and feedback spells an unceasing locomotive wormhole. Hazy, dense grooves drive across bleak city scenes in "We Can Rebuild Him", into the raw vibe of "Framework" and the rude stabs of "Spectrum of Light". The varying presence of Dixon's work is one of his textural signatures, at arm's length, brushing right within, and far out. The bumping mood of "Earth Station" is one such moment, close enough to isolate the diving bass somewhere within, simultaneously from afar it becomes positively gravitational. The first two records of the series are rightfully considered among the finest embodiments of contemporary minimalism, symbolic documents of Afro-futurism. This new work revives the classic series, continuing the relationship between Tresor and the undisputed master of Detroit techno into the present day.
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12"
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TRESOR 319EP
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DJ Deep returns to Tresor with his new Fosph EP, his first release on the label since 2015. In the time between then and now, the deeply rooted boss has been particularly active, from b2b DJ sets with Jeff Mills, his work as part of the duo Sergie Rezza, to his newly released jazz-house remixes of Cotonete. Listening to his mixes, which regularly spin from essential Chicago and Detroit house sounds, through blends of Afro-percussion and dub reveals an ear sensitively tuned to the ground searching stories through music. Fosph proves an EP of real mastery that exudes techno, its drive, phasing patterns and melodic minimalism. "Swamps" opens the record with a jungle cacophony, its rhythms dipping and diving on a ritualistic sequence -- judiciously lean, biting and expressive. "Tommy" is an exercise in solo TR-909, the less-is-more machine repetitions that journey unceasingly -- sure to be a crucial drum tool. "Utrecht" hints at an expansive '90s ambient sound, imbuing analog static with synthetic cries and meanderings. "Escape" takes these sonic outposts, and goes even further. Its resonant drums propelling into action a pendulum of organic expressionism, rising into flight from its dusty origins. EP closer "Demonstration" is a clear example of DJ Deep's love for machine funk. An old-school banger doing just enough, its playful off-beat excursions and effective one-word sample recall a certain Midwestern directness.
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3LP
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TRESOR 321LP
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2021 repress; triple LP version. Tresor Records announces From The Far Future Pt. 3, a new album from Terrence Dixon. Continuing the story of his previous two iterations on this title, it is a serene undertaking of unrivalled Motor City rhythms and sound. It finds the Detroit producer oscillating, from excursions in paradises of synth pointillism to husky storytelling and Dixon's peculiar beat work. A master in letting shapes find their form, Dixon allows the listener to wallow in recurring scenes. "Lost Communication Procedure", "Found In Space", and "Remarkable Wanderer" etch a sound world of choral vibrations and cinematic dirge. Where gaseous clouds scrape the natural sonic pastures of such environments, the hypnotized listener staggers a drunken step, moving sideways by 0 or 1 or -1 into new scenes. Not least an expert in industrial abstraction, a human silhouette permeates Dixon's sound. His ethereal storytelling portrays the heart-rending romance of "Unconditional Love" and unearths in "I'm Away In Detroit" monologuing moodscapes recalling our GPS voice assistants. "Out of Darkness" initially recalls Kraftwerk's "Geiger Counter", as from pure signal data and feedback spells an unceasing locomotive wormhole. Hazy, dense grooves drive across bleak city scenes in "We Can Rebuild Him", into the raw vibe of "Framework" and the rude stabs of "Spectrum of Light". The varying presence of Dixon's work is one of his textural signatures, at arm's length, brushing right within, and far out. The bumping mood of "Earth Station" is one such moment, close enough to isolate the diving bass somewhere within, simultaneously from afar it becomes positively gravitational. The first two records of the series are rightfully considered among the finest embodiments of contemporary minimalism, symbolic documents of Afro-futurism. This new work revives the classic series, continuing the relationship between Tresor and the undisputed master of Detroit techno into the present day. Includes one vinyl-only track.
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2CD
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KERN 005CD
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Switching within digital binaries, analog flux, and all forms of degradation in between, a creature is kickstarted to life, as if awoken with locomotion's full might. Helena Hauff delivers a mix for Tresor's Kern series, lashing together a sound world with a potent barrage of industrial dance music. Scorched-earth missives attract metals and mining chemicals, leaving little in its wake but aggravated and chaotic experiments of lateral hypotheses in acid brine. Like a hyperloop through this labyrinth, this high-velocity future is both beautiful and evil, glinting embers through low-bit fogged-out clusters. 100-meter high aluminum pylons vibrate, each captivated by their electrified foundations. There is no place for dust to settle on the floor. Where a loose TB-tribalism knocks switches and pounds upward synaptic shocks, life down there is too rapid. Not to be taken lying down, this is the viable path forward without the shackles of turgid passivity. The eect is no less thrilling than crucial, as it presents an essential DJ of our times. Settling into swift 150bpm groove, Hauff ploughs through shepherd-tone electro, ghetto bumps, and grizzled techno. A new collaborative track with Morah plays a rough game of meter, with Hauff's signature sound clear as ever ripping apart new dimensions with a brutal disorder over deceptive bass synths. The visceral crunch of the present is no more clear than at the halfway point, a threshold in which the breakneck electro falls apart, with the rabid foam of Nasenbluten's ballsy gabber anthem "Intellectual Killer". Slowly more room to breathe comes into view, the pace drawn down revealing a strange sense of resolution, with expansive synths hinting at a beckoning euphoria. At this moment, Helena Hauff is clearly in full stride, uniquely melding fragile machinations against anarchic human interventions. Helena Hauff and Morah, Umwelt, Machino, Galaxian, and L.F.T. all contribute with five previously unreleased tracks, exclusive to the compilation. Rare titles are also featured, such as the late Curley Schoop's "Mayhem" under the name Esoterik, "City Of Boom" by DJ Godfather & DJ Starski, Nasenbluten's "Intellectual Killer" and "After Dark" produced collaboratively by Andrea Parker and David Morley.
2CD features: Esoterik, Mononom, Jaquarius, Slaves Of Sinus, Galaxian, Blackmass Plastics, Volruptus, Animistic Beliefs, Paul Blackford, DJ Godfather & DJ Starski, Dirty Hospital, SolarX, The Advent, O-Wells, Privacy, Morah & Hauff, Somatic Responses, Nasenbluten, Subtopia, Umwelt, L.F.T., Q.D.T., Machino, SC-164, Shedbug, Exzakt, Shinra, Maarten van der Vleuten, and Andrea Parker & David Morley.
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3LP
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KERN 005LP
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Repressed. 3x12" release. Full color gatefold sleeve featuring exclusive photography; includes download code. Switching within digital binaries, analog flux, and all forms of degradation in between, a creature is kickstarted to life, as if awoken with locomotion's full might. Helena Hauff delivers a mix for Tresor's Kern series, lashing together a sound world with a potent barrage of industrial dance music. Scorched-earth missives attract metals and mining chemicals, leaving little in its wake but aggravated and chaotic experiments of lateral hypotheses in acid brine. Like a hyperloop through this labyrinth, this high-velocity future is both beautiful and evil, glinting embers through low-bit fogged-out clusters. 100-meter high aluminum pylons vibrate, each captivated by their electrified foundations. There is no place for dust to settle on the floor. Where a loose TB-tribalism knocks switches and pounds upward synaptic shocks, life down there is too rapid. Not to be taken lying down, this is the viable path forward without the shackles of turgid passivity. The eect is no less thrilling than crucial, as it presents an essential DJ of our times. Settling into swift 150bpm groove, Hauff ploughs through shepherd-tone electro, ghetto bumps, and grizzled techno. A new collaborative track with Morah plays a rough game of meter, with Hauff's signature sound clear as ever ripping apart new dimensions with a brutal disorder over deceptive bass synths. The visceral crunch of the present is no more clear than at the halfway point, a threshold in which the breakneck electro falls apart, with the rabid foam of Nasenbluten's ballsy gabber anthem "Intellectual Killer". Slowly more room to breathe comes into view, the pace drawn down revealing a strange sense of resolution, with expansive synths hinting at a beckoning euphoria. At this moment, Helena Hauff is clearly in full stride, uniquely melding fragile machinations against anarchic human interventions. Helena Hauff and Morah, Umwelt, Machino, Galaxian, and L.F.T. all contribute with five previously unreleased tracks, exclusive to the compilation. Rare titles are also featured, such as the late Curley Schoop's "Mayhem" under the name Esoterik, "City Of Boom" by DJ Godfather & DJ Starski, Nasenbluten's "Intellectual Killer" and "After Dark" produced collaboratively by Andrea Parker and David Morley.
3x12" features: Esoterik, Galaxian, Morah & Hauff, DJ Godfather & DJ Starski, Q.D.T., Machino, Umwelt, Shinra Nasenbluten, L.F.T., Dirty Hospital, and Andrea Parker & David Morley.
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2LP
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TRESOR 316LP
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Throughout his career, Roger Semsroth has followed a deep intuition for experimentation in sound, wrapping club music around eerie microtonal motifs and industrial sensibilities. This new work for Tresor takes a step forward, as the first true techno album from Sleeparchive, where his previous LPs have exhibited themselves more conceptually, or under different names and his Nord Vest label. Semsroth has been active in electronic music since the late '90s. He received initial attention first for his electro productions under the alias Skanfrom and the '80s minimal synth inspired Television Set. These projects echoed his love for these sounds, which the East Berliner had steadily immersed himself with after the end of the GDR. Upon hearing the bleeps of Mika Vainio and Plastikman, he began to engage with his strain of techno. Over the last decade, he has focused on his Sleeparchive alias, which dates back to 2004. Alongside close friend DJ Pete, he performs live techno as TR-101. His relationship with Tresor began in 2011, first releasing the Ronan Point EP (TRESOR 243EP) and following up with the crucial A Man Dies In The Street series in 2013 (TRESOR 260EP, TRESOR 264EP). With this new album, Sleeparchive's impact on the techno sound is ever more relevant. Awaking in constant locomotion, locked-in, unrelenting, and dry. Sleeparchive's churning loops etch visions of tight minimalism at times densely frenetic and others serenely galactic. This predilection continues throughout the four sides on the album, eschewing conventional arrangement styles with gradual probabilistic change. Tracks such as "Needle" and "Peccant" offer up precise, sinewy techno. "Leave" recalls the Detroit sound of Terrence Dixon, with its cascading synth tones and droning atmospheres. The album closes with a different version of "Trust" to that found on 2019's Revised Recordings EP released on Tresor (TRESOR 309EP), with its now-familiar nerve-inducing pizzicato strings even more at the fore with its mechanic delivery. 180 gram vinyl; includes download code.
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12"
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TRESOR 317EP
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Tresor welcome Minimal Violence to the label, starting with the first chapter in a series of three records entitled DESTROY ---> [physical] REALITY [psychic] <--- TRUST. At the furthest edges of their idiosyncratic brand of ferocious hardware techno, this first EP, Phase One, reveals the Vancouver duo to be expertly out on a limb. Mirroring the explosive cut and thrust of their live sets, their recorded output extends a metaphysical rave. Throughout, Ash Luk and Lida P cut their cinematic melodies into a clattering rave hole, unceasingly revising the gravitational pull in each direction. "Ravebomb" finds a route of no-nonsense with its unhinged endorphin rush of surging EBM style bass and rough-handed rhythms. It is followed up by an alternate version of "Ravebomb", the "Fire Mix", which casts its elements into a heady psychoactive cloud on a collision course with its kick drum. Glimpses of a rhythmic waywardness coat "Perfect Rendition", full of tape tics and wobble, with a push to '90s UK, beat experimentations and the pull of arching hookworms. Closing out the EP is "The Next Screen Is Death", with a dystopian '80s wave sound, where short snippets of sampled mush imbue disturbed synth stabs, while arpeggiated basses drive with momentum a feverous descent in tandem with trance-echoing melodies.
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Book
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TRESOR 318BK
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Tresor announce the Drexciyan journey's continuation with the release of The Book Of Drexciya Volume 1, a graphic novel which covers the first five vivid chapters of this powerful mythology, a crucial Afrofuturist work. African pregnant women thrown off the slave ships gave birth underwater to amphibious creatures. They could breathe as they did in their mothers' wombs, they had webbed hands and feet and became the Drexciyan wave jumpers: great warriors of the abyss. Revealed in the inner sleeve notes of The Quest (1997), through a map of the diasporic black culture, Drexciya illustrated four phases: The Slave Trade, Migration Route of Rural Blacks to Northern Cities, Techno Leaves Detroit, Spreads Worldwide, and The Journey Home (Future). It introduces the very creatures and warriors found in these pages, such as Wavejumpers and Deep Sea Dwellers. The return home is of destination future, where lays the population of their abyss. Follow the story of the first Drexciyan, his subaquatic birth, growing up in the caves of Ociya Syndor, later to become Drexaha, the empire's first king. Get introduced to Dr. Blowfin, Master of Alchemy and Quantum Genetics, who masterminded Drexciyan computer systems and network, based on Genetic Intelligence and DNA matrix systems. Hear the story of the birth of the wavejumpers, the mightest warriors of Drexciya. Enter Bubble Metropolis, thriving with its central command, aquabahns and aqua wormhole gateways to the cephalopod-like oceanic Cruisers. Authored by Abdul Qadim Haqq and Dai Sato, it features the art of Haqq, Leo Rodrigues, Alan Oldham, Hector Rubilar, Leonardo Gondim, Daniel Oliviera, and Milton Estevam. Haqq's legendary concept imagery associated with the Detroit techno community and beyond for almost 30 years and his contributions to the mythology at the time of conception makes him uniquely positioned to lead this endeavor. Dai Sato is most known for his screenwriting for animes Cowboy Bebop and Ghost in the Shell. This project comes with the full support of living Drexciya member Gerald Donald and Helen Stinson, the surviving mother of James Stinson. Graphic novel; hardcover; 76 pages.
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2CD
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TRESOR 315CD
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Function's long career has seen him uncover a vast range of sonic identities, a mainstay through house, techno and industrial with collaborations with the likes of Regis, Damon Wild, alongside his highly influential Infrastructure imprint. With influences deeply tied to pop art, rave, and gay scenes, and early memories of block-parties emitting Kraftwerk and Strafe, he found himself seeking out the undercover illegal nights of the '90s on a quest of sexual unearthing, mixing the ever-yearning escapology mission of disco with the influential DJ sets of Jeff Mills. For his new album Existenz, he marks a clear step away from the corporeal techno of his recent releases. Pivoting around themes of religion, sexuality, trauma, and healing, it is a work expansive and celebratory, a clear liberation from a deeply internalized past. Formed from a collection of recordings made in a period from late 2016 to mid-2019, Existenz takes the form of a creative outburst in reaction to a number of traumas. Life partner Stefanie Parnow assisted the production process in its entirety, providing inspiration, spiritual healing, and featuring vocal contributions. Cosmic synths soar and swoop in "Pleasure Discipline" through towering stacks of rhythm that stutter and creak to a halt before rebooting, a firm robotic response to human intervention. "Zahlensender" reflects a spatial Tetris of urban life, as digitalization set within an XYZ matrix confronts the sprawling city. "The Approach" recalls the unification of the self, a state of delirium non-subjective and smooth, as all connections and functions give way to simple intensities of feeling, crossing the threshold into spirituality. "Golden Dawn", featuring Stefanie Parnow, marks a further elevation of dubbed-out euphoria. His ode to the effortless short-trip urban navigation "Kurzstrecke" finds Function in motion, upfront, and bold, snapshots of conversation and flickers of light. "Ertrinken" finds metallic bass jabs swamping snipped synthetic voices, with hidden stores of emotion set as a nod to the history of vocoders as a tool for encrypted military communication. House icon Robert Owens features on "Growth Cycle" and "Be", entrenching a celebratory atmosphere over Function's clubwise leanings. "Downtown 161" reflects the unmistakable filtered and squashed interjections of television, and sampled dance vocals -- a sound for the curious, dreamers and dancers. With Existenz, Function reveals an essential body of work -- thought experiments on the role of identity and spirituality after a lifetime of upheaval and trauma. Double-CD version includes a 12-page booklet.
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