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12"
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50 048EP
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180-gram vinyl. The ninth 12" in 50Weapons' 11-part finale combines two driving forces of contemporary techno, Benjamin Damage and Truncate -- a deadly combination for any DJ's bag. Benjamin Damage's "Battle" sees him layer his hyperactive grooves over a thumping kick with a small but effective acid line topping things off. Truncate's "86" is a massive track that Dave Sumner aka Function previously used in his Berghain 07, obviously serving as one of the highlights there. Its creeping synths build up to a climax in typical Truncate fashion, with huge, compressed kick drums pounding the dancefloor mercilessly.
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12"
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50 050EP
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180-gram vinyl. Who better than label founders Modeselektor to hammer the last nail into 50Weapons' coffin? Their first solo 12" since 2012 sums up 50Weapons -- on one hand abstract, dubbed out, and experimental; on the other hand banging and bass-heavy, without any regard for so-called trends. Paul St. Hilaire aka Tikiman joins Bronsert and Szary to imbue dub-techno slow-burner "Trees" with the spirit of Jah. "50 Trees" is an ambient/dub-leaning excursion, but don't think of it as non-dancefloor material -- in the hands of skilled DJs this can be just as much a weapon as its beat-driven counterpart.
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12"
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50 049EP
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180-gram vinyl. The tenth 12" in 50Weapons' 11-part features the first meeting on record of two acclaimed Berlin-based artists known for regularly destroying clubs around the world. FJAAK are joined by Dystopian label head-honcho Rødhåd, who debuts on 50Weapons with "Oblivion," a track inspired by the Elder Scrolls video games. FJAAK also take inspiration from video games -- Super Smash Bros. -- and their tracks shows off the appropriate hyperactivity for which they're known.
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12"
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50 046EP
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180-gram vinyl. Two masters of sound-design join forces for the seventh 12" in 50Weapons' 11-part finale. Anstam presents his wonderful "Dolores," and Monolake delivers his experimental techno track "VT-100," made solely with a LinnDrum. 50Weapons has been following the work of Robert Henke aka Monolake for a long time. Both tracks tap into the experimental side of 50Weapons, but this is obvious, considering the two names on the record.
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12"
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50 047EP
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180-gram vinyl. For the eighth 12" in 50Weapons' 11-part finale, red-hot Munich newcomers Zenker Brothers join forces with German techno staple Marcel Dettmann, a combination that is both exciting and effective. It was Dettmann's idea to have his "Activator" -- a dark, broken DJ tool -- backed with the Zenker Brothers' "Namuan," another piece of 1990s-rooted tool techno in fine Ilian Tape-style.
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12"
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50 044EP
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180-gram vinyl. The fifth 12" in 50Weapons' 11-part finale is split between Bambounou and renowned Perlon artist Margaret Dygas. Dygas's "Popular Religions" merges the minimal aesthetics of her sound with 50Weapons' in a fantastic way! Bambounou bids farewell with the bubbly "See You Soon," a perfect match to Dygas's track.
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12"
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50 045EP
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180-gram vinyl. The sixth 12" in 50Weapons' 11-part finale features Shed's pure techno power twisted into breaky sub-bass-loaded madness by his longtime friends Modeselektor, in a 12" pairing that hasn't occurred since Modeselektion Vol. 01 #2 (MONKEY 005EP, 2010). René Pawlowitz aka Shed combines a straightforward 4/4 beat with a chopped vocal that will hypnotize just about any dancefloor. Modeselektor (Gernot Bronsert and Sebastian Szary) chop the track up and replace the 4/4 kick drum with a booming broken beat and big breaks, sure to be spun by every creative DJ.
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12"
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50 043EP
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180-gram vinyl. For the fourth 12" in 50 Weapons' 11-part finale, Addison Groove delivers quite a 4/4 version of his sometimes-more-seriously-broken beat with "Allaby," featuring rattling juke claps, a bouncy kick, and cut-up shout-outs. A DJ-tool, highlight, and energy-refresher all at once. Errorsmith's intricate structures always come crowned with the crispest, finest, and bassiest sound-design you can imagine. "Airbag" is a lurky, wobbly monster with no tags applied. And if you tried to nail it, you'd fail. Errorsmith ain't dubstep, IDM, bass music, or industrial; he's just over the top -- he's the man himself.
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12"
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50 042EP
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180-gram vinyl. For the third 12" in 50 Weapons' 11-part finale, Benjamin Damage & Doc Daneeka return to the label with a dark, futuristic, warped techno tune. "Kansas" builds on a bouncy bassline and classic house hi-hats and manages to incorporate a twisted version of an old-school house organ and some sweet, uplifting pads while maintaining an otherworldly touch. Bicep contribute another hybrid that tends more to the funky side of things. Its beautiful arrangement of synth arpeggios and shiny hi-hats are sure to bring out that last drop of energy and a smile on the ravers' faces in the early morning hours.
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12"
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50 040EP
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180-gram vinyl. 50Weapons begins its finale with the first of 11 12"s, catalog numbers 40 through 50, featuring a 50Weapons artist on one side and another artist, chosen by the first, on the B-side. "Narr Day" is the first tune ever made by one of Berlin's key electronic acts; all the flavors of the early days are combined in this minimal ambient techno tune made of the three main ingredients: a bass, a drone, and a kick drum. Cosmin TRG uses the dark drone of "Narr Day" as the base for his modular-synthesizer-enhanced rework of the track. Dark and trippy techno for the head.
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12"
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50WXTR 005EP
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German trio FJAAK's "Gewerbe 15" is a primetime sure shot, opening with a broken kick drum that eventually makes way for a pummeling 4/4 beat bound to shake the walls of any club. The title refers to the German word for "commercial space"; the trio lived in a 15-square-meter combination-living-space-and-studio during the creation of their first two EPs for 50WEAPONS (Attack/The Wind (2014) and Don't Leave Me/Plan A (50WXTR 002EP, 2014)). "Rush" plays with a much more house-oriented approach to a peak-time track. A rock-hard, distorted kick drum; piercing hi-hats; and a soaring ride are paired with almost Jersey-esque, shuffling chords.
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CD
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50 018CD
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Obsidian is the third album from Benjamin Damage (his second solo long-player) and the end of an era for both himself and 50WEAPONS. As the first artist (outside of Modeselektor) to release on the label, it's apt that he delivers the last album on 50WEAPONS. Benjamin Damage himself states, "Obsidian is a collection of fragmented memories from all the music I've ever liked, distorted and restructured into a full length techno record. A purely personal project and an end of an era with 50WEAPONS." It's easy to forget that Benjamin Damage has only been releasing records since 2010. Just two years after the release of his first track, he dropped his first album, They!Live (50 005CD/LP), alongside production partner Doc Daneeka, to critical acclaim. The following year saw his first solo album release with Heliosphere (50 012CD/LP), marking a pronounced sonic sci-fi development toward Plaid and Jeff Mills, and hailed by critics as a return of soul and warmth to the cold, industrial world of Berlin techno. Mining a deeper furrow than 2013's Heliosphere, Obsidian eschews crushing rhythms, for the most part. Unraveling in a dream-like realm where melody has space between the kicks and snares, the album affects a more emotional dancefloor-pull. That's not to say that the album lacks punch, as tracks like "Cosmonaut," "Parallax View," and "Transmission" deliver that adrenalin rush with aplomb. But it is on tracks such as the beautiful "Pulse Width," sublime "Shimmer," acid-tinged "Tetrapod," and ethereal "Poly" that Benjamin Damage stretches further into the unknown, touching on the genius of AFX, Skam, and Autechre. Obsidian delivers warmth, heart, soul, and sweat throughout, and, as such, couldn't be a better parting shot for the label.
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2LP
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50 018LP
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Double LP version. Includes download code. Obsidian is the third album from Benjamin Damage (his second solo long-player) and the end of an era for both himself and 50WEAPONS. As the first artist (outside of Modeselektor) to release on the label, it's apt that he delivers the last album on 50WEAPONS. Benjamin Damage himself states, "Obsidian is a collection of fragmented memories from all the music I've ever liked, distorted and restructured into a full length techno record. A purely personal project and an end of an era with 50WEAPONS." It's easy to forget that Benjamin Damage has only been releasing records since 2010. Just two years after the release of his first track, he dropped his first album, They!Live (50 005CD/LP), alongside production partner Doc Daneeka, to critical acclaim. The following year saw his first solo album release with Heliosphere (50 012CD/LP), marking a pronounced sonic sci-fi development toward Plaid and Jeff Mills, and hailed by critics as a return of soul and warmth to the cold, industrial world of Berlin techno. Mining a deeper furrow than 2013's Heliosphere, Obsidian eschews crushing rhythms, for the most part. Unraveling in a dream-like realm where melody has space between the kicks and snares, the album affects a more emotional dancefloor-pull. That's not to say that the album lacks punch, as tracks like "Cosmonaut," "Parallax View," and "Transmission" deliver that adrenalin rush with aplomb. But it is on tracks such as the beautiful "Pulse Width," sublime "Shimmer," acid-tinged "Tetrapod," and ethereal "Poly" that Benjamin Damage stretches further into the unknown, touching on the genius of AFX, Skam, and Autechre. Obsidian delivers warmth, heart, soul, and sweat throughout, and, as such, couldn't be a better parting shot for the label.
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CD
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50 017CD
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After leaving both critics and the dancefloor in awe with his 2012 debut album Orbiting (50 011CD/LP), Jéremy Guindo aka Bambounou returns to 50WEAPONS in full-length form with Centrum. While his debut album painted a futuristic, extraterrestrial picture, Guindo now tries to explore what the future would look like on Earth: "For Centrum, the concept is a little bit different, it's back on Earth, still in the future and it's not so bright. Have you seen Akira or read Dune or even Foundation? It's this kind of vibe for me," he says. Hold on -- outlining a dark future in a techno full-length... hasn't that already been done? Not in this manner. Guindo paints a picture of a future where everything is in order and no one can get out of the system. "Composer" is a perfect example, with its grooves evoking the image of a conveyor belt for production or transport. Guindo tinkers with (real Detroit) electro synths throughout the album, leading the listener into a trance state that he interrupts with the slamming percussion of tracks like "Each Other." While Orbiting reflected Guindo's experience growing up the 13th arrondissement of Paris (home to big building blocks and the Quartier Asiatique), Centrum somewhat diminishes the presence of his bass and footwork influences. Ambient and techno are what Guindo is leaning toward now. Centrum may not be a typical club record, stuffed with bangers from start to finish, though it does contain material for good DJs to sink their teeth into. Instead, while it's sure please fans of Orbiting, it also provides the kind of listening experience treasured by mature techno fans.
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2LP
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50 017LP
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Gatefold double LP version. After leaving both critics and the dancefloor in awe with his 2012 debut album Orbiting (50 011CD/LP), Jéremy Guindo aka Bambounou returns to 50WEAPONS in full-length form with Centrum. While his debut album painted a futuristic, extraterrestrial picture, Guindo now tries to explore what the future would look like on Earth: "For Centrum, the concept is a little bit different, it's back on Earth, still in the future and it's not so bright. Have you seen Akira or read Dune or even Foundation? It's this kind of vibe for me," he says. Hold on -- outlining a dark future in a techno full-length... hasn't that already been done? Not in this manner. Guindo paints a picture of a future where everything is in order and no one can get out of the system. "Composer" is a perfect example, with its grooves evoking the image of a conveyor belt for production or transport. Guindo tinkers with (real Detroit) electro synths throughout the album, leading the listener into a trance state that he interrupts with the slamming percussion of tracks like "Each Other." While Orbiting reflected Guindo's experience growing up the 13th arrondissement of Paris (home to big building blocks and the Quartier Asiatique), Centrum somewhat diminishes the presence of his bass and footwork influences. Ambient and techno are what Guindo is leaning toward now. Centrum may not be a typical club record, stuffed with bangers from start to finish, though it does contain material for good DJs to sink their teeth into. Instead, while it's sure please fans of Orbiting, it also provides the kind of listening experience treasured by mature techno fans.
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12"
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50WXTR 004EP
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Oben/Unten paints a picture of a club in which the more pleasing sounds are played on the upper floor ("Oben") while there's a freakshow in the basement ("Unten"). The heavy stomper "Oben" features a cut-up of the notorious "Amen break." Its delayed stabs, impulsive drums and washed-out vocals almost drive you into a trance-like state of mind. "Unten" goes face first into the doghouse. Sweat is dripping from the ceiling, half-naked bodies are jacking to the resonant sounds of the kickdrum. A hi-hat and some claps -- you don't need much more.
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12"
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50WXTR 003EP
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50 Weapons proudly presents two stripped-back club tracks by Bambounou, the main man for dancefloor euphoria. "Feel Like This" is built around a hypnotizing vocal sample with hi-hats sharp enough to cut a hole right through your brain cells to activate your dance-nerves. "Onto This" sees Bambounou unleash his talents in a very NY-esque way, with those sharp skippy hats that are definitely drawing on UK garage and one of the grooviest organs heard since "Kaoz on King Street." Both tracks will definitely reap lots of support, from Panorama Bar to the beaches of Croatia and back to Paris.
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12"
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50 039EP
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FJAAK have already had a killer start with their previous 50 Weapons EP release Don't Leave Me/Plan A (50WXTR 002EP). Their rough techno tracks are driven by a fast and furious energy that pulses with love for its genre. The A-side is ruled by the well-carved noises of the kick drum's reverb, brilliantly-timed breaks, and a windy flute pad that pairs perfectly with the distorted snare drum. "The Wind" uses distorted snare drum with delayed synths and noise-as-percussion, heading into deeper territories, while "Curious" sets a darker vibe with growling bass drones that sting like metallic insects, infecting you with dancemania.
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12"
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50 038EP
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Addison Groove releases another rattling body-shaker with his new EP on 50 Weapons. This one is pure fiyah. "Dat Ass," the record's fierce opening track, sounds like electro undergone a radical undercut. Maximal sub-bass meets a sceletized breakbeat, military percussion, euphoric vocal shouts and some actual whistle-blowing to add that extra dancefloor discipline. A2 features the late DJ Rashad and with its stunning title "U Been Gone" sounds like an homage to one of footwork's greatest. "Push it" brings some hi-NRG flavor to the record and "Masamune" brings the whistle back on a minimal D'n'B cut.
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12"
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50WXTR 002EP
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50 Weapons proudly presents a new artist signing -- FJAAK. FJAAK is a Berlin born and raised young trio with a futuristic mind and nostalgic feelings. They are both into analog machines and equipment as well as all kinds of digital toys. Though still very young, their hardware-only live sets are already legendary in their hometown of Berlin as well as in selected stops throughout Europe.
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12"
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50 037EP
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Here comes Cracking Space Pt. 2. The second half of Phon.o's journey into the deeper end of dance music is slightly darker than its counterpart. The working title for this record was Pri5m, as it is dedicated to whistleblower Edward Snowden, and doing this title justice, the three tracks are full of suspense and captivating sounds. Phon.o's signature stacked percussions are met by playful UK garage-esque bass lines, driving 4x4 kickdrums, and slowly-evolving melodies that are coated in delicate layers of beautifully haunting atmospheres. The outcome is a subtle dancefloor killer that will work its way into ears and legs without big gestures.
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12"
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50 035EP
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Phon.o's new EP continues his quest into the deeper zones of club music. Combining influences from UK house, garage and Berlin techno, he manages to further define his very own sound. Featuring guest appearances from Malaysian duo Bass Sekolah and additional keyboards from San Franciscan mastermind Joshua Kit Clayton, this record has a strong narrative that manages to work on the dancefloor as well as on the home stereo. This EP is intimately tied to the forthcoming #037, Phon.o's next EP. Together, they make a killer couple and you won't be able to decide which one to take home with you.
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12"
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50 034EP
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Garnier, the Grand Seigneur of Techno, surprises with his first EP for 50WEAPONS. Known as a pioneer of the global electronic music scene, an internationally-respected DJ, and the undisputed godfather of the French techno scene, Garnier is always in touch with the emergence of new artists and genres. Here, Garnier reiterates his close working relationship with the underground and shows his skill and rigor as a producer. Typical Garnier bass lines flirt with the retro charm of Chicago and the roots of house music as well as his own. This EP is distinguished by an organic, raw, acid-flavored techno sound that explores unchartered territories.
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12"
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50WRMX 010EP
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The 50WEAPONSRMX10 EP lets Bambounou's heady minimal original "Ignition" shine in new glamour. Laurent Garnier, the pioneer of the French techno scene himself, steps up to provide a lush, dubby tech-house track that strictly aims at the big room. French Fries' version of "Take It Out on Me" is an austere stunner of the minimalist approach so typical for the new French sound. The two remixes couldn't be more different and they couldn't fit together better, each on their own representing an important facet of the label's catalog.
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12"
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50 033EP
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David Flores, formerly known as Audio Injection, started his Truncate project mostly for DJ tool purposes. You can hear it in the production: they're very DJ-friendly tracks and, as such, incredibly successful sure-shots for pretty much all the main techno DJs. The tracks on his Pressurize EP show a new side of the project tailored for 50 Weapons: still very functional, but less straightforward. Some bass music and broken-beat influences shine through, but always in true Truncate style.
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