Stroboscopic Artefacts is proud to welcome on board Singapore-based Xhin. With his production wizardry he has been crafting ominous cuts of cutting-edge techno.

“Fixing the Error” is an enormous peak-time club killer. Xhin knits together the sinister sound of the revolt of the machines. High frequency drum machines and ferrous sub-bass synthesizers are working urgently against the clock. Close your eyes, dissolve, step into dystopia. You are transported into a post-human cityscape where strobes reflect off smelting metallic sounds and deafening alarms wail. These warning codes, layer upon layer, fashion a vision of a metropolis gorging itself on sprawling noises.

The flip side, “Link” has no narrative. Instead, this deep, brooding slice of dub-techno is composed of pure atmospheric pressure. The undercarrige slithers and slinks, interrupted by crackles of lightening and prehistoric rumbles. The result is a construction created in a cold palate of pyrite grey: bubbling, spherical and terrifying. This is dark. This is urgent. This is Xhin.

The release also generously includes two digital-only bonus dj tools, to expose the DNA of Xhin’s playful ideas.

Stroboscopic Artefacts' first vinyl release is an incendiary two track EP. Label founder Lucy gives us a visionary blueprint for the future Stroboscopic Artefacts releases, etching out the soundtrack for an apocalyptic club scenario.

Out of the A-side's dark, pulsing beats and itchy baselines, a granular voice rises up. Krishnamurti's rasping vocal cuts through, creating a colossal techno track. The result is a hybrid of the physical need to dance fusing with the cerebral. Amid resonant piano samples and utopian 60s strings, a crystalline question emerges: "Why Don't You Change"? In the middle of a hazy, overcrowded dance floor this peak-time guerrilla track hints at a moment of epiphany.

On the B-side "Dub Man Walking", Lucy's dub-roots background collides with his techno identity. The heavy drum machine structure is injected with obsessive dubby baselines and intersected by high frequency distortion. The track floats, the elements never fully solidify, instead they surge forward becoming ever more urgent. Lucy mixed and arranged "Dub Man Walking" live using his faithful Mackie MS 1202 to keep the texture warm in an old skool way.