Patrick Gräser, AKA Answer Code Request, was one of the defining producers of Berghain’s second generation. First emerging in the early 2010s, Gräser was producing industrial-strength techno influenced by the hardcore continuum, serving Berlin techno with a twist of UK rave and ’90s IDM. As a resident of the Berlin club, he was an heir apparent to mentor Marcel Dettmann — only instead of Dettmann’s penchant for EBM and new wave, it sounded like Gräser had spent formative years clubbing on Fridays during the Sub:stance heydays. The pair of records he released during that period — 2014’s Code and 2018’s Gens — remain high watermarks of the Ostgut Ton catalogue.
New LP Halo picks up where Gens left off.
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The lines have been blurred everywhere in music, so why not in what goes by the name of field recordings? What once was solely the concept of actually going outside and recording sounds you hear and then (but not necessarily) combining them with music itself, has become something a bit different.
It is almost 10 years that the trio of Adrian Blake Enscoe, Sydney Shepherd, and Regina Strayhorn, known to those that have already caught up with them as 
Congratulations, the new album from songwriter and multi-instrumentalist 
In the ‘80s, 
Brutalismus 3000, the Berlin electronic duo comprised of producer Theo Zeitner and singer Victoria Vassiliki Daldas, call their music “nu-gabber post-techno punk.” They deride Berlin’s techno scene as painfully serious and “unstylish,” cringing at ravers self-styled as revolutionaries. They shoot music videos with happy crews of children smashing and spray-painting TVs. And if they had to write a manifesto, they’d title it “Fuck Shit Up” (or “We’ll Kill a CEO”).
Pressing play on Spacemoth’s new album is like stepping into a ‘90s Magic Eye painting: Everything suddenly becomes 3D, jumping off the page in a blur of motion. Infectiously catchy from the get-go — all Day-Glo synth splodges, fuzzed-out guitar, boxy drum workouts, and strawberry bubblegum basslines — Inward Eye is both instantly gratifying and wrapped in deeper meaning. At its heart, it’s a paean to journeying — on the road, inside your mind’s eye, and to other cosmic dimensions, all while you ponder things like “Do We Exist?” and how to communicate through a paper cup.
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The album November 89 comprises a selection of very early 
It’s easy to romanticize New York nightlife — and sometimes you might wonder if it’s cheesy to do so. After all, the late David Mancuso’s foundational Loft parties have been the center of embittered schisms and fights over branding that call into question their founding ethos: “Love Saves the Day.” But what would New York City be without a little conflict, eh? And there are still plenty of true believers in the fiercely independent, dizzyingly multicultural, polysexual spirit that has kept people dancing in the half-century or so since Mancuso first blew up balloons and tuned on his huge hi-fi. Key among them are the Love Injection crew — conceived by Barbie Bertisch and Paul Raffaele at a Loft party, and who are determined to keep the spirit alive through zines, record…
If the sepia-toned photograph of a house on a hill is any indication, 
There’s a certain charm to an after-school band. In an age of industry plants and X Factor it-boys, listeners still crave the intimacy of bedroom pop and the rough authenticity of garage rock.
…The live release all hardcore Devo fans have been waiting for, Nitrous Nightmare demonstrates a band harnessing their artistic greatness in the purest of forms. This mythic performance captures Devo perfecting some of their most iconic concepts in the raw. Expertly restored, this live recording makes for a thrilling experience, it also captures Devo as a lightening rod for hostility.