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TRESOR

Cover of Internal Empire by Robert Hood.

Robert Hood

Internal Empire

Tresor

The ongoing importance of this album is indisputable, essential both to techno and to Tresor. It is a history intertwined. This work elevates its maker as master, and remain a cherished moment in the Tresor story, sharing an irrefutable singular magic, sounding as present and indispensable as when first created. To understand this work fully is to stand back and celebrate its impact. Originally released in 1994, ‘Internal Empire’ marks a point of transition for Robert Hood moving on from his previous collaborations within Underground Resistance. Robert Hood advanced uncovering the power of true minimalism. Deep soul through a simplicity that showed how much could be done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound, influencing generations to come.

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Cover of Neptune's Lair by Drexciya.

Drexciya

Neptune's Lair

Tresor

    Originally released on Tresor back in 99, Drexciya's debut LP "Neptune's Lair" sent waves through the techno cognoscenti and wiped the floor with everything else released at the time. Thanks to the heavy shroud of mystery the group wore with pride, details behind the production of the record are scarce, but rumour has it that Stinson created this masterpiece single handedly having split with Donald at some time in the previous year. The album opens with the moody chant and blurred tongues of "Temple Of Dos De Aqua", immediately transporting us into the deep waters the Drexciyans call home. From this threshold we're begin our journey to the heart of their world on the electro rhythm and crystalline synths of "Andreaen Sand Dunes". Stinson balances the deep and metallic bassline with the pattering of hi hats while the sounds of submerged transports powering down reverberate through the dark. "Running Out Of Space" takes a dizzying ride through machine funk, careering from eddy to whirlpool while a Parliament bassline rips through the lower frequencies. As the album plays on, Stinson incorporates echoes of first wave techno, boogie, sci fi noir, John Carpenter sequences and cosmic funk into the Drexciyan lexicon, blending all these ingredients together into a cohesive narrative. The result is an immersive listen, the sonic equivalent of an hour in an isolation tank, floating free in the trippy waters of the Drexciyan dreamscape. 

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    Cover of Waveform Transmission Vol.3 by Jeff Mills.

    Jeff Mills

    Waveform Transmission Vol.3

    Tresor

    Pivotal, iconic, groundbreaking & pioneering, the third part of Jeff Mills and Rob Hood's "Waveform Tranmission" series is given a limited re-run. When this originally came out in 1994 on Tresor it sounded fierce, uncompromising and unique - and perfectly encapsulated the spirit and energy across the German capital following the collapse of the Berlin Wall. As such Jeff and Rob became heros and flagbearers for the techno sound in Europe, miles away from their home in Detroit (who would take much, much longer to embrace the sound outside the select group of DJs, producers and dancers which were involved in the scene).

    The unrelenting tempos, machine-code drums and alien frequencies would soundtrack many a 48-hour weekend as the punk spirited, electronically-guided party spirit came into blossom throughout the 90s.

    An absolute masterpiece which every home should posses. Limited to 1500 hand numbered copies - this is one techno album you can't be without!




    STAFF COMMENTS

    Matt says: They don't make 'em like this anymore... Boundry dissolving militancy from the Wizard. One of his most uncompromising and arresting releases in his catalogue.

    FORMAT INFORMATION

    Ltd LP Info: This repress is a stamped and hand-numbered edition, limited to 1500 units.

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    Cover of Transport by Juan Atkins & Moritz Von Oswald Present Borderland.

    Juan Atkins & Moritz Von Oswald Present Borderland

    Transport

    Tresor

    Juan Atkins and Moritz von Oswald - the two indispensable protagonists of the 'Electric Garden' - plug back into the wilderness.

    ‘Transport’ - the new full length effort of the Borderland collaborative project - brings together a new set of studio-refined sequences aimed at colonising some of the dark energy that pulsates through those areas that are thoroughly electrified, even if not ‘on the grid’.

    The Detroit-Berlin axis triangulates to a third point which, like the atomic particle that lives in two places at once, flickers between a form of techno-charged ambience and a futuristic club-jazz which cannot be broken down into constitutive parts. Borderland remains caught in a state of enraptured stillness, invisibly moving between every imagined future for electronic sound making.

    The result: a font from which springs serene and exhilarating musical ideas that vibrate with refined energy for sixty seconds in every minute.


    STAFF COMMENTS

    Sil says: Hypnotic, deep and mesmerizing. These three adjectives arguably define partially the form and function of minimal techno. This album is no dross as the genre has become. In contrast, Transport has been crafted by two well-seasoned techno maestros who bring their own influences to this masterpiece, a deeply satisfying convergence of Detroit and Berlin.
    Von Oswald, precursor of dub techno (Basic Channel, Chain Reaction, et al) and Atkins (widely credited as the originator of techno) join forces to demonstrate that the genre is not passé and can still surprise. Appropriate for both dancefloor and home listening. Those into dubby ambient and deep techno will not be disappointed as every track is standout material which should be added to any serious music collector.

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    Cover of Borderland by Juan Atkins And Moritz Von Oswald.

    Juan Atkins And Moritz Von Oswald

    Borderland

    Tresor

    After more than two decades of behind the scenes collaboration Juan Atkins & Moritz Von Oswald present 'Borderland' - their first album together using their own names - on Tresor Records.

    The album - made up of eight tracks, which seamlessly blend the styles of both masters (although leaning further towards Von Oswald's dub-techno sound) - was recorded at the beginning of 2013 over various studio sessions in Berlin and is released as a series of three 12"s and a CD album.

    The CD opens with 'Electric Garden (Deep Jazz In The Garden Mix)', which features German trumpet player Sebastian Studnitzky, whose muted, treated notes work perfectly with the loping dub-techno grooves. "Footprints" was the second work to be produced in the 'Borderland' studio sessions. It's a robust house groove reminiscent of earlier collaboration between both men such as the anthemic “Starlight” released on Metroplex 18 years ago, or Moritz' 'M' series. 'Treehouse' revisits classic house adding the ample proportions characteristic of the duo’s sound. "Mars Garden" returns to the "Electric Garden" theme with a high dose of ultra deep gritty spiralling kosmische dub-funk of 'Mars Garden'. 'Digital Forest' feels like a dystopian soundtrack to a drive through old Detroit slowly transforms into colossal dancefloor jam.


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    Cover of 20 Years Of Metroplex by Juan Atkins.

    Juan Atkins

    20 Years Of Metroplex

    Tresor

    Tresor deliver the definitive Juan Atkins Detroit techno / electro record label Metroplex, featuring compositions by Atkins under various psuedonyms; Cybotron, Model 500, 3mb, Infiniti etc. Featured here are ground-breaking early works such as "Alleys Of Your Mind", "Clear", "No UFO's", "The Chase", "The Passage" and "Off To Battle" - electronic compositions that will always be counted as foundation blocks for a music style that endures to the present day. Inspired by the European computer music of Kraftwerk and Depeche Mode, and the US P-Funk of Parliament / Funkadelic, Juan Atkins delivered a new sound that changed the face of electronic music forever.

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