"Well, there is a long story to Tremsch & Metzler although they have not released a vinyl so far on MBF.

They have been super successful releasing remixes on MBF and Trapez ltd on the digital format for quite a while.

Their Butch remix for instance was a big hit in Frankfurts Club U60311 and we are proud that after 2 years and multiple changes from names such as: Doppelschicht to Cleo Tremsch, now they are working together again as: Tremsch & Metzler.

Tremsch & Metlzer aka Martin Maier & Daniel Fuchs have created their own style of music which is based on new school techno house.

It is hard to find out which kind of music exactly has influenced these artists but similar to Piemont they are merely occupied by their own world of music in their heads.

We are sure they have never heard of such WARP legends as “Sweet Exorcist” still their 3 tracks carry that northern industrial flavour and combine it with funk.

”20 Toes” as well as “Head Games” perfectly transport this spirit, whereas “Development” feels housier with samples of child vocals and cut up reverse sounds that create an semi-acoustic feeling.

Support comes through a remix by MBF core member Piemont who have remixed “Head Games” and have created through that a fabulous rough and crazy Chicago track, that holds all the experience Piemont have gained through playing live.

The Salz dub remix of “20 Toes” is all at ease, really keeps on playing the same mediative beat pattern all throughout the track, just being interrupted by short breaks and stimulated by chords flying in and out, forming a flower-bed of sounds and effects.

Having made their debut on Drumcode with the 'Maffaking EP' just a few months back, Stuart McMillan and Orde Meikle return in September with 'Cacophony'.

It's practically impossible to impart any new knowledge on Slam to fans of techno, such is the widespread respect and admiration for the Glasgow duo.

Slam have done it all; from creating acid house anthems, curating the finest line ups for their legendary Pressure parties and championing quality music everywhere they go, theyre a dance music institution.

Despite their national treasure status, McMillan and Meikle continue to be at the forefront of electronic music as this latest outing of three tracks shows.

From the rising/falling melody and steady climbing intensity, title track 'Cacophony' leads the way nicely into an EP of usual Drumcode strength.

It's a nagging melody which characterises Souvenir too. Rolling out across the seven and half minute cut, this unrelenting melody creates an incredibly forceful vibe and it's to Slam's credit that they let it continue with just minor percussive changes underneath.

Finally, the wavy funk and warm key licks of 'The Strip' close the EP with a blast of swinging groove that employs a more playful vibe.

Slam and Drumcode is a brilliant pairing so 'Cacophony' is a must.

Born in Beirut , living in Amsterdam, and travelling around the world djing every weekend! Fady Ferraye takes in sounds from around the world and incorporates them into his productions... Baroque are proud to unleash his next outing.

Those Without Shadows is a deep throbbing affair, a blend of techno and house, with industrial tones and textures. a proper underground record.

The remixes are full of quality in the package here. First up is techno tyrant Erphun, who gives us a blisteringly hot and relentless journey for peak time travel!

Cid Inc take the track through a techier beat driven route, with a powerful layered breakdown - a bit of an office fave this mix!

and Silinder provides a dirty and deep remix, a little more minimal but still full of funk and drive!

Once again we are welcomed to the world of Decimal aka David Spacek. Having developed a rapid obsession towards the art of electronic music at the tender age of 15 he swiftly moved on to become a specialised Dj and producer, which resulted in him, creating a sound that is both refined and unique and recognised universally.

Decimal made is mark on all the great techno lovers around the world long ago and his return to Soma Records sees the release, of yet another, greatly anticipated EP, titled Forgotten Requiem taken from his fourth coming, debut album, Lost in a Dark Place.

Decimal has always aimed to provide a modern twist within techno production and development, an aim that has clearly been achieved right from the core of this EP.

The title track Forgotten Requiem once again pushes the genre boundaries and not only reminds the audience of Decimals past creativity but illustrates the essence of Decimal. Forgotten Requiem has an added dynamic, which, incorporated with the raw, intensifying bass results in Decimals unfailing capability to produce and recreate the magic of repetitive sound. Finishing as it began, with the alluring beat of the core bassline, the listener is left eager to discover what the following track has to offer.

The EP continues to progress onto Death Song. A simple beginning acts as an effective disguise to the thrilling depths that can be found within this track. It soon unravels to expose an echoing vocal and continuous chant, which joins the epic organ synth in creating a hectic and intense atmosphere. The ambience created amidst the penultimate track is one to push the listener into a frenzy.

The closing track, Return of the Jam, takes a slightly different direction to that of the previous two and encapsulates the dancefloor rhythm, and that of the upbeat passion of The Jam themselves, thus providing the necessary requirements for the avid club goer. From the initial beat the audience is left with no other choice but to embrace its stylish, modern take on an oldskool era. Although the shortest of the three tracks, Return of the Jam, does not fail to deliver and with the final beats bringing the EP to a close the listener is left with no other choice but to clickrepeat!

After his "True Emotions EP" and the Marco Bailey "Muzik"-remix, MB Elektronics invited Davy Dee back to hit us with another slamming release. Starting off with the perfect combination between house and techno: "The Yellow Screen" twists and turns. Make sure to listen all 6 minutes of it because the end is not as you would expect. A splendid remix from Kaiserdisco brings a more minimal feel to the track but keep enough of the splendid original version to remain groovy. The flipside track "Sweet violence" has many great sounds, striking bass-lines and gives you that vintage warehouse-techno feeling. What better way to start your summer!

The devil is in the details. Three years after their successful Minus "Vs" release, Square One marks a return to a long-standing collaboration between Troy Pierce and label mate Jesse Siminski aka "Heartthrob". The release is inspired by the duo's new performance moniker of the same name, which combines DJ-ing along with live performance elements. The three detail oriented tracks wind their way through tense, angular synths, solid drum programming, dusty droning sound spheres and swinging dissonant cords. Humorous, upfront, and chaotic at times, these productions are not afraid to stand apart and cause a full on freak out.

The title track Square One is a beast that utilizes stomping rock inspired drums that are tweaked and played off of a boiling hot synthesizer line to the track’s apex. Throughout, the focus is on dance floor pressure, as sharp high hats and sleazy drum rolls dodge analog noise bursts. Driven by tight sub bass, it is a unique take on Troy's intricate grooves, fused with Jesse's penchant for over-the-top melody and composition. This track is not for the timid dance floor.

While Puka Haole (which means white devil's hole in Hawaiian) is another sinister builder. A funky growling Moog bass melody, whose filters open and close suggestively around broken beats, carries the loose arrangement. Heavy snare rolls cut through and give order to polyphonic synth blasts. The atmosphere is electric and tense with delay lines and a soaring banshee choir. Ultimately a swinging melody brings even more energy to the anxious air of the track until it disintegrates.

Building from the first two cuts is Island Rumors, another stormer that shares the same cutting percussion and tough sub bass foundation as the other tracks but has a lighter disposition. Island Rumors dives headlong into tight jacking house beats, but pairs them with alternating ominous and uplifting synth chords. It pushes forward steadily as murmuring voices pass eerily, whispering rumors. It's a welcome foil to the mayhem of it's sister tracks, but nonetheless a relentless funk jam.

Finally there is Kahana. Abstract piano stabs distort in digital fog and echoes. This song cruises steadily from its calm beginning with an air of melancholy to something more complex. There is a nod to dub in the half time polyrhythms and profusely reverbed delays. Don't let the tenderness fool you. Before long, sharp snares amplify and construct a tight groove that builds and builds but never loses its restraint.

While touring last winter in the United States the four tracks were written in Hawaii on the island of Maui. "Square One" functions as a step forward for the duo towards their new performance project and ideally will satisfy the appetites of forward thinking Techno fans the world over. Troy and Jesse wish to thank Tobias Freund, for lending his "Golden Ears" to the final mix of these tracks.

It’s that odd moment when you’re standing at the bar at the local nightclub and it’s far too late. You’re already quite tipsy and another drink is probably not the best idea. But you’re staying at the club for another 5 hours at least, and you’ve found your way to the bar. It’s probably around 4AM or so (or is it afternoon now?), and for the very first time in all the years of going to this venue, you notice the espresso machine nestled between the familiar Jagermeister and Vodka bottles. You have that split second moment where you consider the benefits of the espresso. Then the bartender arrives, you give him that friendly nod, and order three shots of Tequila, two Becks and completely forget about the caffeine boost from that little energy providing machine. And then, you hear the track playing and stumble back to the dancefloor for a boogie. It’s a damn good track, and the crowd seems to be really into it. There is a good possibility that track in question is from the latest EP by Ambivalent, entitled Dunk… but then again, maybe it’s not.

You’re standing next to your friend in the center of the dancefloor, enjoying the track playing. Your friend yells into your ear, slightly hurting your ear drum, verbally confirming this track is indeed taken from the new Ambivalent release. He screams “this is that track called Down, dude! I have this on promo, with the instrumental version!” The twisted, distorted vocals saying “you wanna hang out? Maaaaannnn that shit ain’t right” are shouted repeatedly into your ears by your friends booze tainted breath, slurring the same exact words recorded from Kevin McHugh’s voice coming out of the speakers. The stompy beats and bumpy bassline keeps your drunken dance moves intact, while the strobe lights blind you from any chance of moving from that one spot on the floor.

The song ends and forms into another one, and without it taking longer than two minutes, your same drunken friend, who is becoming a bit too belligerent at this point, screams “DUDE! This is another track by Ambivalent! This is Magnesium the other track from that EP he just did!” Apparently the subtle keyboard stabs and infectious groove were enough for your trainspotting friend to quickly recognize the jam. You approve of his excitement, as this cut is definitely one made to keep everyone moving along as the sun creeps through those smoke stained windows. You shut your eyes, enjoying a vocal free moment and soak up the deep low end bass tones which help push this wicked record forward a bit more.

As the music keeps pushing you to dance, you can still hear your friend going on and on and on to people about the release, oblivious to them not really wanting to hear about it. You can hear him bragging about having a copy of the release in question, telling some random partygoer that his favorite tracks from the EP are clearly Train To Baltimore because of its tracky hypnotic swing, and the Paco Osuna remix of the track, which your intoxicated friend seems to think is the best remix Paco Osuna has ever done. You try to ignore his ramblings, and focus back to the music, still with your eyes shut, seeing slight flashes of light when the strobes hit.

Then you open your eyes, and look at the DJ for the first time in what seems like hours – and you notice that the guy standing behind his laptop in the DJ booth looks just like Ambivalent. Is it him? The tracks you just heard were definitely the new tracks from his EP (according to your drunken friend who at this point doesn’t remember his name). Maybe he’s right, maybe you should just go home cause you need sleep, or maybe it’s time to check out that espresso machine.