, , , ,


My exclusive track Damask is included on Rednetic Recording’s new compilation One Point Three.

It’s been ten years since Mark Streatfield and Joseph Auer founded Rednetic Recordings as a mean to release melodic electronic music ranging from lush electronica and techno to breakbeat and experimental, but instead of looking back, Rednetic is looking towards the future by bringing some of its regular roster together with some new comers for the third instalment of its One Point series.

Released almost six years after One Point Two, One Point Three comes as a two-part CD, named Archive A and B, both limited to 100 copies each, and as a 23-track digital album. The project features tracks from Rednetic regulars Utility Player, Ukkonen, An On Bast, Wil Bolton (Cheju) and Murray Fisher (MINT), the latter in a rare appearance under his own name, plus a host of contributions from artists from all over the world, all showcasing a much vaster scope of genres than on previous instalments. This ranges from lush techno (Forever Sound, Cyan341, USRNM, Ukkonen, Sinnesstruktur, Alphabox), atmospheric breakbeat (Zainetica, Mokujin), occasionally with vocals (Vacant Shores) and ambient (Wil Bolton, Murray Fisher, Colbets, Langer, Anzio Green) to crisp electronica (An On Bast, Z-Arc), urban grooves (Neytoda), acid-infused electro (Joseph Auer).

The range is much wider and more ambitious than the two previous instalments in this series, but like before, there is a definite intention here to gather some of the finest electronic music around, and make it work as a whole. Although Archives A & B are separate entities, at least on CDs, they are very much complementary and are designed to be experienced as such.

Curated by Mark Streatfield, who also contributes his first track under his Zainetica guise for quite some time, as well as Cyan341, the collection is much more than a snapshot of where Rednetic might be as a label ten years on from its inception. It documents a slice of electronic music focused primarily on melody and ambiences rather than on BPM and groove or all-out experimentation, which has been developing for over two decades and continues to inspire musicians and sound artists around the world today.

One Point Three will appeal not only to fans of the label, but also to fans of classic electronic labels of the early days such as Worm Interface, Toytronic or GPR right down to classic Warp or Skam releases.


“London’s Rednetic Records have been responsible for a number of quality electronic releases over their ten year existence. Particular favorites of this writer include Recue’s All the Wrong Places, Infinite Scale’s Ad Infinitum and Warmed by Sunosis—all superb explorations of everything melodic electronic.

In celebration of a decade in business, the label is releasing a double whammy compilation of further soul fueled electronic music: One Point Three is the third in a series of fine collections exploring the outer reaches of techno, electronica and experimental sounds. Coming in two Archives the full compilation contains selections from 23 artists and includes tracks from Ukkonen, Will Bolton, Recue and the fantastically named Hopeless Local Marching Band.

Things commence relatively chilled with the bubbling arps and warm pads of “Aphelion” by Forever Sound before an immediate segue into the gentle rippling acoustic guitar work of Will Bolton. Murray Fisher follows with a fine contribution of piano led ambiance in a new departure from previous beat led outings under previous guise Mint. Later we find recent winners of best band name ever Hopeless Local Marching Band delivering a beast of an oddity that’s all opposing rhythms, demented circus melodics, industrial percussion and a sense of style as wonky as their name. Anzio Green provides the complete antithesis to this madness with “Sorry for all the mistakes”—pitching shimmering guitar against time stopping atmospherics in sultry style. Other tracks that tickled these ears find Recue showcasing superb production skills across a frenetic skittering IDM/dubstep hybrid complete with dreamy female vocal. Langer explores deep spacey dub techno territories and Ukkonen provides a characteristically left field take on melodic techno. Nice, indeed.” – Igloomag

“Rednetic Recordings has long been known for its melodic and more often than not techno-oriented brand of electronic music. Established by Mark Streatfield (aka Zainetica and Cyan341) and Joseph Auer a decade ago, the label reasserts its presence with a two-part, double-CD compilation called One Point Three featuring 140 minutes of new material by roster artists and new recruits. Curated by Streatfield, the twenty-three track collection, which arrives ten years after the first installment and six after the second, covers a broad stylistic range, with melodic techno, breakbeat, and ambient tracks heavily represented.

Forever Sound (Neil Wells) eases the listener into the two-volume set with a representative exercise in bubbly melodic techno called “Aphelion,” the Rednetic brand instantly coming into clear focus. On Archive A, the label’s ambient leanings are well-accounted for in a placid meditation by Wil Bolton (aka Cheju) (“Damask”), while its tougher side is represented by offerings from Utility Player (the muscular acid-techno banger “Eveflexiq”), Cyan341 (the militant tech-house jam “Tahrir”), and Kentaro Togawa, whose Hopeless Local Marching Band contribution “Craving” skitters frenetically between hyperactive string-based passages and crushing guitar episodes. Elsewhere there’s pretty piano-electronic lullaby (“Looking Over the Parapet” by Murray Fisher aka MINT), brooding electronica (Zainetica’s “Life’s too Short”), and murky dub-techno (Langer’s “Wind on Water”). Archive A‘s conspicuous misstep is the inclusion of a vocal on Vacant Shores’ “Non+,” which isn’t so bad as to be cringe-inducing but does spoil an otherwise credible exercise.

Archive B gets off on the good foot with an effervescent slice of acid-tinged electro from Auer (“Strangeland”) before moving on to a sleek high-roller (“Captcha”) and a melodic electronica sparkler (“Disposition”) from USRNM (Stuart Bowditch) and Z-Arc (Kris Derry), respectively. It soon becomes apparent that the second chapter’s stylistic purview extends further than the first’s: Neytoda fixes his gaze firmly on the street for a funkier grooves-heavy ride (“Exodus One”), Marco Rosso and Simon De Tomaso haul out the strobes for their disco-fied number (“Love Lazer”), Recue’s “Not Tonight” works a bit of early Squarepusher-styled breakbeats into the collection, and Streatfield and Bolton team up as Anzio Green for a slow-motion ambient evocation (“Sorry for All the Mistakes”). As if to confirm the suspicion, the volume ends with the most unusual of the compilation’s offerings, a woozy collage of electric harps and voices from FEAR called “Fear as Far as the Eye can See and a bit Further.”

If forced to choose, I’d opt for Archive B over A (Vacant Shores’ “Non+” the deciding factor), but they’re both quality collections. Only 100 physical copies of each has been made available, so those with a jones for classic electronic music of the type associated with Toytronic, Boltfish, and, of course, Rednetic shouldn’t wait too long if they want to acquire a copy.” – Textura