Enrico Sangiuliano – Biomorph

Enrico Sangiuliano - Biomorph

Enrico Sangiuliano has been a Drumcode favorite since his debut track “Trrbulence” with Secret Cinema on A-Sides Volume 3. He blew people away with his solo EPs, Moon Rocks and Astral Projection, which featured some of his most played tracks of all time. Now he makes his return to the label with a project unlike any seen in his career so far. The project is a concept album called Biomorph and is separated into four sections, all telling parts of a story about evolution and the process of biological and technological advancement. Every track shows a new side of Sangiuliano’s masterful production skills, while still retaining elements of the sound he is known for.

The first section is Organisms, and opens with “Functional Basic Unit of Life.” This ambient track is a slowly-building soup of synths that mix and layer together, giving the impression of bringing order to chaos.

As this piece dies down, it makes way for the thundering percussion of “Multicellular.” This track has been sought after as the opener to the back-to-back set between Adam Beyer and Cirez D earlier this year, and features a prominent sawtooth lead that contrasts with the deeper pads and synth stabs.

Finishing the Organisms section, “Generative Model” takes things in an entirely different direction, with a slower broken beat that’s vaguely industrial in nature. A consistent bass and a pulsing synth progression keep things steady while dynamic arpeggios add some more spice to the arrangement.

Cosmic Forces features two floorburners which are finely tuned to induce dancing from anyone, anywhere. The first one, “Cosmic Ratio,” uses a breakbeat-backed groove to make something melodic and energetic. Chill-inducing, lightning-like synths ensure that the track is truly unforgettable.

“Hidden T” is bound to be one of the most loved tracks on the album. Drumcode’s main man Adam Beyer has been playing it regularly, though the artist and title were unknown until the announcement of this album. It is a deep track, with a long build leading to the break, which is immediately recognizable by a repeated ascending hook. Sangiuliano’s signature percussive synth work is still present, but it takes the sidelines to give a washing pad the spotlight.

“Arboreal” opens the Metamorphosis chapter and acts as an interlude. The first minute or so is quite ambient and features a distant snare ticking like a clock. Then all at once, a distorted drum beat breaks in, bringing a feeling of unstable power. This tune contains prominent industrial and drum & bass influences, and showcases a side of Sangiuliano’s work that has rarely been heard before.

The music then progresses into “Symbiosis,” one of the most anticipated tunes on the album. This one has Sangiuliano’s very recognizable signature style, with percussion stabs and distorted synths, but he throws a curveball with a three-bar hook offset in timing from the backing drum groove. The break begins at nothing before slowly building up its flurry of synths and then launching into the harsh, resonant bass groove of the drop.

The final section is Two Probabilites, which gives a glimpse of the distant future. The first of the two is “New Dawn,” a lovely, slow-burning melodic tune, layered with otherworldly pads, perfectly painting a picture of hope and beauty.

In contrast, “EOL” ends the album with a harsh, off-kilter beat and dissonant lead. The track attempts to build in a couple of iterations before collapsing into chaos: a soup of distant vocals and cold atmospheres. Eventually, the beat returns with the sound of the universe being ripped apart, a pure industrial section that shreds and pulverizes its way through the music before coming to an abrupt end.

The digital version of the album adds one more tune, a massive driving festival track, called “A Further Existence.” This one is dark and upbeat, driven by chugging synth stabs. Emotional leads and phenomenal subtle details make the track an unstoppable vessel of kinetic energy.

The “Biomorph” album is out now on Drumcode.

Follow Enrico Sangiuliano: SoundCloud / Facebook
Follow Drumcode: SoundCloud / Facebook

Enrico Sangiuliano – Astral Projection

Enrico Sangiuliano - Astral Projection

Last summer, Italian producer Enrico Sangiuliano shook up the techno world with his “Moon Rocks” EP and now he’s back for the release of his long awaited second EP on Adam Beyer’s Drumcode label. “Astral Projection” is very different from its counterpart, as its focus is not on delivering dancefloor stormers, but on bringing ethereal atmospherics to the listener. The EP, which features two tracks, draws some inspiration from the “Alone In This Place EP” that was released in 2015, but not in an unoriginal way, as the content is still fresh. One thing that has remained the same, though, is the overall production quality, which is the mark of a true perfectionist. Check out the tracks below. You won’t be disappointed.

“Astral Projection” is a calm, introspective track that combines deep reverberations with ethereal pads. A rhythmic percussion layer underneath provides the necessary momentum, while joyous vocal chants and smooth arpeggios take the track to a higher level. The structure of the track is fairly straightforward, but the constant cycle of building up the pads brings the necessary intensity into the mix. Highlight of the track is definitely the one and a half minute break, which increases the pressure to the max, but the drop will leave you a bit disappointed after the memorable “I Know You Must Follow The Sun” vocals.

“Blooming Era” teases the listener with atmospheric toms and faint pads (that resemble an Elvish choir) before unleashing the murky basslines at the two minute mark. From that point on, they take center stage and give the track a somewhat restless vibe. The breakdown provides some relief and here we are introduced to the melodic portion of the track, which comes in the form of reverberated synth stabs and an entrancing arpeggio. After the break, things quickly turn to your regular programming again, only for the melodic parts to re-appear once again around the five minute mark.

“Astral Projection” is scheduled for release on July 17th on Drumcode.

Follow Enrico Sangiuliano: SoundCloud / Facebook
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Vinicius Honorio – Through The Darkness

Vinicius Honorio - Through The Darkness

If you’ve been following Adam Beyer and listened to one of his Drumcode Radio Live episodes recently, then you’ve most definitely heard of Vinicius Honorio. The London based producer has a proven track record with releases on labels such as Funk’n Deep, Renesanz, Unity and Elevate, which is only the start of more great things to come. With his first Drumcode release in the pipeline (that’s scheduled for release next week), he even got a DCR172 tattoo, which speaks volumes about his passion and dedication to the music. The four-track EP he’s releasing, conveys just as much emotion, but leans more towards the melancholic side. All in all, a worthy Drumcode debut!

The EP opens with “Walking Shadow”, which quickly sets the tone with moody pads and howling synths. This is offset by drum’n’bass inspired percussion and rough bass grooves that make their way into the mix at the 2:30 mark. Both sections complement each other nicely and make that the melancholic portion doesn’t overshadow the solid, danceable backbone of the track.

Second track “Through The Darkness” starts out with a light percussion repertoire that gently leads the unsuspecting listener into a much darker place. Honorio has used a mixture of haunting arpeggios, ominous basses and lamenting vocals to turn this track into a dark, brooding expedition. While the arrangement is fairly straightforward, it carries just the right balance of anticipation and intensity to be mesmerizing throughout.

“Desolate” is a lighter affair, but it does express stronger sentiments of sorrow. These are conveyed through a dreary synth loop and mournful vocals, which have been used more sparingly. Driving percussion and subtle atmospherics provide an industrial setting, which gives the track quite a desolate feeling. This won’t make it the ideal candidate for your average spring-themed set, but it’s still a solid production nonetheless.

Final track “Out For Blood” stands out most on this EP, mainly for its use of industrial hits and stabs that instantly reminded me of the prevalent style of techno from five years ago. The arrangement alternates between the desolate synths, which provide a modern touch and the mechanical sounds, which are the definitely the tastemaker in this track. This hard hitting track is meant to be played loud and will instantly turn your party (or even your late night study session) into a massive, industrial rave.

“Through The Darkness” will be out on April 10th on Drumcode.

Follow Vinicius Honorio: SoundCloud / Facebook
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Layton Giordani – Where It Begins

It’s not often that an artist makes a non-compilation debut on Drumcode with a full album. In fact, it has never happened before in the history of the label. But that’s exactly what young Amsterdam-based producer Layton Giordani is doing at the end of February, following up his tune “Rivington” which was part of the last A-Sides compilation. The album consists of 12 massive tracks, showcasing the artist’s signature euphoric style and massive big-room percussion, as well as demonstrating the his highly intricate and varied craftsmanship.

The album begins with the intro “Escalate,” a tune which starts the night off perfectly, its swelling energy setting the tone for an unforgettable party. It begins with a simple, yet distinctive repeated synth tone. This tone is eventually layered with a pad that swells to the max, before finally dropping off to make way for a subtle bassline and crowd sample.

Next up, the title track “Where It Begins” is everything we’ve come to expect from Giordani, using dark, heavy-hitting percussion in a distinctive pattern. A two-note pad hook is introduced during the break, which builds along with a rhythmic snare roll before finally continuing into the drop.

“Turn It Around” might possibly be the perfect festival tune. It starts off at nothing but a filtered hat, growing slowly and cautiously, then floats on to the break, leaving only a single high-pitched note. The artist demonstrates his impeccable crowd control with this one, using very specific builds and releases before finally introducing the main theme of the track, a chorus of energetic, stabbing chords.

“Supernova” is a bit of a break, dropping energy levels slightly and calling back to tracks like his Octopus tune “People And Things” by using a single synth pattern that is automated throughout. However, it also takes things in a new direction for the producer, as the beat is a bit softer and less driving, allowing the listener to focus more on the dynamics of the alien arpeggio.

“Fire Eyes” has been hyped for months now, and listeners should easily be able to tell why. It might be considered a counterpart to the previously-released “Rivington,” as the structure and percussion is similar in each, though this track is soft and emotional where “Rivington” is hard and sharp. The break is a wonderfully-crafted melodic gem, using a mixture of deep pads and leads to hypnotize the listener completely.

“Silver Shadows” could be the darkest track on the album, built on a percussive stab with minimal melody and lined with a cyclone of hats. The vocal is instantly memorable, and its repetitive, garbled tone is well-suited for the atmosphere of the track. While the tune still features the pads that the artist loves so much, their use is very subtle and discreet, mostly floating through the background rather than driving the groove.

Next, “Sometimes” is another club killer, though far more menacing than tracks like “Fire Eyes” or “Turn It Around.” The beat marches irresistibly forward, backed by a metallic hit and a dark vocal sample which is forcibly cut. The bass progression that’s introduced during the break is capable of casting sonic shadows on a festival crowd, and something about it feels far more ominous than most of the other selections on the album.

Taking things slightly softer, “Euphoria” has that instantly-recognizable Giordani sound, though the track might be better suited for warming things up than blowing off a club roof at peak-time. The mid-section is based on a pseudo-break-beat, with a pulsating synth layered over the top, practically begging the listener to get up and dance.

“Dragon Fly” is an entirely different beast. It is simultaneously harsher and funkier than the average (if there is such a thing) Giordani production. The soulful, melancholic hook, contrasted with the-well rounded bass stab, makes the track perfect for listening at home, while the cold and hard baseline also keeps it dancefloor friendly.

“Tigerlilly” is very well placed on the album, bringing energy levels back up to take things full circle. Its vibes take it in yet another new direction, but it is clearly built for clubs and festivals. A pulsing, delayed lead and powerful vocal coupled with driving hats almost blur the lines between techno and trance, but the thumping kick and percussive flourishes keep it firmly rooted.

“Good Violence” was one of the first tracks to be produced, played by Layton Giordani as early as the beginning of 2015. While there was a bit of a wait, its eventual release was inevitable. This track is a true anthem, born to be a closer. Euphoric, symphonic pads sing an unforgettable melody that conveys the feelings of unity and soul that are so important in techno culture, aided by a crisp kick and snare.

Finally, closing this masterpiece of an album is “Where It Begins (Outro).” Though one might infer from the title that this is an alternate mix of the album’s title track, this one is completely different, using dark percussion and pads with a softer edge for an electronica vibe, unlike anything the producer has released in the past.

“Where It Begins” will be released on Drumcode on February 27th. Samples (except for “Good Violence”) are not available yet, but we’ll keep you posted.

Follow Layton Giordani: SoundCloud / Facebook
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Timmo – System

Timmo - System

Timmo returns to the grand Swedish label Drumcode for his second solo EP, following up 2014’s “We Beat On,” which included the unforgettable “Canvas.” The new release, “System,” is easily a worthy successor, featuring four massive tunes without a single dull moment.

The opener, “Intensify,” has been a mainstay in Adam Beyer’s sets for months, and proves that you don’t need harsh drums and booming bass to create a dancefloor weapon. This track is driven mostly by the percussion, which shifts constantly, from low rides to shakers to light claves. Running throughout, following and complementing the beat is a low growling bass hook that is unmistakable and heralds the beginning of the greatest party the world has ever seen.

“The Maze” is next, with heavier vibes built to move a crowd. The lead is fashioned from a chord pattern, using a sound that merges the bionic and the organic, automated in psychedelic waves. Meanwhile, in Timmo’s signature fashion, a glowing pad gives the track another dimension of life, making it clear that this masterpiece will be remembered for ages to come.

The title track keeps things going strong, laying down a steady, thumping kick and a dark bassline tuned for maximum power. The hats roll effortlessly over the beat, ushering in the chaotic, torrential lead. The result is a dangerously energetic tune that conveys imagery of peak time at an underground rave, or possibly a global-scale war against robots.

Closing the package is “Together,” its bold low-ends shape the groove into something a bit deeper. This effect is magnified through the use of a percussive hook and fluffy hats, setting the track apart from the other three. The retro-style vocals complete the emotion, giving off vibes that may be slightly melancholic, but also hopeful.

“System” will be released on Drumcode on January 23rd.

Follow Timmo: SoundCloud / Facebook
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Kaiserdisco – Toleranz EP

Kaiserdisco - Toleranz

At this point German duo Kaiserdisco are just as much Drumcode regulars as artists like Alan Fitzpatrick and Bart Skils. They are making their return to the imprint with their sixth solo EP, which is rather different in style from what they’ve previously released on the label. With “Toleranz EP” the duo showcases their dark, gritty techno side, and only small traces of the house influences that are clear in their previous EPs can be seen here.

“Get Enough” starts things off dark, but still has a clear connection to the melody for which Drumcode releases are known. The track crescendos massively early on, and uses small dips, builds, and atmospherics to ensure high energy levels throughout the entire track.

The second tune, “Toleranz,” is almost a variation on the theme of the previous track, with a similar pulsing bassline and rolling hats, but it takes the sound in a completely different direction. This tune is much darker, with harsh, screeching atmospherics and menacing vocals, chugging along like an industrial-grade combustion engine.

Next, “Cobra” is a call-back to the styles of the duo’s previous Drumcode releases. This one is faster, with an intricate and groovy bassline that melts nicely into the shakers, hats, and rides to give the tune a relentless feel. The artists utilize syncopated, bubbly stabs as the main hook to make this one highly danceable.

Finally, closing things off is a remix of the previous EP’s “SQ 80” by emotional techno masters Pleasurekraft. Their interpretation is wildly different from the original, only recognizable by the vocals. They’ve given the track their own touch, with an odd rhythm and organic arpeggio. However, the deep pads and layering on the main hook are what truly make the track, transforming it into nothing short of an anthem.

Kaiserdisco’s “Toleranz EP” will be released tomorrow on Drumcode.

Mark Reeve – Run Back EP


Mark Reeve returns to Drumcode for the first time since his debut in 2012. “Drumatic” was well received, and rightly so, for each of its four tracks were deliciously dark and drum-heavy. For this occasion, Mark has cooked up four tracks that are entirely different than anything he has released up to now. He has taken his recognizable style to another level, with new melody and ambiance folded into heavy bass lines and his signature percussion. And the result of this change of style is an EP that might possibly be our favorite of the entirety of 2015.

‘Run Back’ opens things up with an airy piece. The distant vocals blend perfectly into the uplifting melody, and the track explodes about halfway through into a full room techno sound with hard hitting kicks.
Next is ‘Exposure,’ which takes you on a darker ride, returning to that more industrial warehouse sound. As the vocal slowly builds, you are suddenly treated to piercing synth stabs that are surprisingly melodic. All the while the catchy percussion drives the track forward.
Then there’s ‘Hold Me,’ which is our favorite – with it’s chilling vocal that makes us want to instantly close our eyes. You’ll get what we mean when you hear it. Just try it.
Closing things out is ‘Can’t You See,’ a real full-bodied track with a much more complete vocal that highlights a strong break. Overall this track takes on a bit of a “housier” feel to it, in a way that we really adore.

Mark Reeve ‘Run Back’ EP is out on Adam Beyer’s Drumcode label.