GTD. Radio

A little something from earlier in the year, with the We're Going Deep / Innate Recordings label dons and selectors, Placid and Owain K, getting into it at The Love Inn, in that there Bristol. They've kindly shared the recordings with Gated and we're very honoured to be able to broadcast the results. A fine bit of business all round. We'd also like to take a moment to acknowledge the sad passing of Juan Atkins, one of the true pioneers of techno. An immeasurable contribution to the music and the culture. Rest in peace. On a happier note, there's new music out on Gated: Mazreku – Mindfloor EP, available now on vinyl and digitally via our Bandcamp. Get over there early to grab the digis for free. A little early-bird offer for the real heads ;) Also, go check out recent releases on Innate and WGD, where more aural treats abound. Listen and support: https://gatedrecordings.bandcamp.com/album/mindfloor https://soundcloud.com/owaink https://soundcloud.com/placid_88 https://weregoingdeep.bandcamp.com https://innate-recordings.bandcamp.com

Lugano-based Italian producer Matteo Mazreku (b. 1998) makes his debut on UK-based label Gated with Mindfloor. Featuring two powerful tracks alongside a third exclusive vinyl-only cut, the release brings together techno, trance, electro, and elements of both contemporary and classic progressive electronic music. Part manifesto, part exploration of a new sonic identity, Mindfloor seeks to define a space beyond established genre boundaries — one that resists easy categorisation and exists outside the conventional framework of electronic dance music. "Mindfloor reminds me of what Aphex Twin achieved with the introduction of braindance, although the two are fundamentally different. While braindance is inherently cerebral, mindfloor distinguishes itself through its techno roots. It can be equally compelling on the dancefloor, but is perhaps best suited to liminal moments," Mazreku explains. "The idea is to establish an alternative name for an alternative form of electronic dance music. Something akin to techno, but not necessarily confined to 4/4 or any single tempo. I believe that certain sounds, when designed and brought together with a clear intention, can occupy a distinct territory beyond the boundaries of a techno subgenre. There is still much to explore within the grey areas that exist beyond this release, and I am already conscious of the possibilities they hold. "I’m excited to take this music further." Electronic music has never been short of genre labels. With Mindfloor, Mazreku makes a compelling case for a new one. Watch out for the breakdown.

Lugano-based Italian producer Matteo Mazreku (b. 1998) makes his debut on UK-based label Gated with Mindfloor. Featuring two powerful tracks alongside a third exclusive vinyl-only cut, the release brings together techno, trance, electro, and elements of both contemporary and classic progressive electronic music. Part manifesto, part exploration of a new sonic identity, Mindfloor seeks to define a space beyond established genre boundaries — one that resists easy categorisation and exists outside the conventional framework of electronic dance music. "Mindfloor reminds me of what Aphex Twin achieved with the introduction of braindance, although the two are fundamentally different. While braindance is inherently cerebral, mindfloor distinguishes itself through its techno roots. It can be equally compelling on the dancefloor, but is perhaps best suited to liminal moments," Mazreku explains. "The idea is to establish an alternative name for an alternative form of electronic dance music. Something akin to techno, but not necessarily confined to 4/4 or any single tempo. I believe that certain sounds, when designed and brought together with a clear intention, can occupy a distinct territory beyond the boundaries of a techno subgenre. There is still much to explore within the grey areas that exist beyond this release, and I am already conscious of the possibilities they hold. "I’m excited to take this music further." Electronic music has never been short of genre labels. With Mindfloor, Mazreku makes a compelling case for a new one. Watch out for the breakdown.

Lugano-based Italian producer Matteo Mazreku (b. 1998) makes his debut on UK-based label Gated with Mindfloor. Featuring two powerful tracks alongside a third exclusive vinyl-only cut, the release brings together techno, trance, electro, and elements of both contemporary and classic progressive electronic music. Part manifesto, part exploration of a new sonic identity, Mindfloor seeks to define a space beyond established genre boundaries — one that resists easy categorisation and exists outside the conventional framework of electronic dance music. "Mindfloor reminds me of what Aphex Twin achieved with the introduction of braindance, although the two are fundamentally different. While braindance is inherently cerebral, mindfloor distinguishes itself through its techno roots. It can be equally compelling on the dancefloor, but is perhaps best suited to liminal moments," Mazreku explains. "The idea is to establish an alternative name for an alternative form of electronic dance music. Something akin to techno, but not necessarily confined to 4/4 or any single tempo. I believe that certain sounds, when designed and brought together with a clear intention, can occupy a distinct territory beyond the boundaries of a techno subgenre. There is still much to explore within the grey areas that exist beyond this release, and I am already conscious of the possibilities they hold. "I’m excited to take this music further." Electronic music has never been short of genre labels. With Mindfloor, Mazreku makes a compelling case for a new one. Watch out for the breakdown.

Gated Podcast is back once again, and this time we welcome Isey into the fold. Isey began his foray into the breaks and drum and bass scene in late 90s Manchester, a time when going out involved considerably more effort and considerably less documentation. Since then, he has been busy championing music and local talent through nights including Commercial Breaks and Erase The Tapes, the latter alongside Node. In 2021, Isey and his long time friend and co promoter Denis Phoenix were invited to host a fortnightly show on Eruption Radio. They have since celebrated five years on the station, serving up everything from reggae to drum and bass and presumably a fair amount of music that would confuse anyone looking for a sensible genre classification. For Gated Podcast 73, Isey takes things in an electro direction, treating us to a selection of some of his favourite electro tracks from the last few years. Before we get there though, we kick things off with a few bits from the Gated catalogue. If you fancy investigating further, head over to our Bandcamp and have a rummage through the shelves. There is plenty to get stuck into, and recent releases from Gated are sitting there waiting patiently for your attention. Gated Bandcamp - https://gatedrecordings.bandcamp.com/music Tracklist Gated bits 1. (Upcoming on Gated) 2. Marwan - Heldere geest Isey 1. Kamyar Ring - Void Transmission 2. Rekab - Crunch 3. Konerytmi - Lirsikka 4. Plant43 - Cirriform Surface 5. Phasmid - Pangolin 6. Zach Murray - Drifting 7. Zach Murray - Hypnosis 8. Kamyar Ring - Grey Pulse Field 9. E.R.P. - Alsoran 10. Hardfloor - The Trill Acid Theme (E.R.P. Remix) 11. Plant43 - Gj 1214B 12. Creasol - Een Moment 13. Mizzo - When Your Mom Drops Acid 14. Brandroid - Grain Capacity 15. Djedjotronic - Abyssal Zone 16. Aloka - Ecliptic 17. Aloka - Concave 18. Kalcagni - Mute Mode Gated end bit 1. (Upcoming on Gated)

Active in London’s electronic underground since the late 80s, Paul Hierophant has long worked in the space between techno, ambient, and dub, preferring atmosphere, tone, and slow-burn tension to obvious dancefloor tricks. The Elder Gods finds him further out on the fringes of electro, where the synths loom large and the delay and reverb units are given a proper workout. The result is widescreen, ominous, and immersive. The title track is a monolithic slab of rhythm where corroded synth pressure and ritualistic percussion feel less like a groove than some ancient machine grinding slowly back into life. Titans stalks forward on a cavernous half-step pulse, all foggy bass weight and fractured metallic vocal echos, like dub techno that has wandered into darker mythological territory and decided to stay there. The Hydra coils around a lurching low-end spine, its tentacular FX flickering and mutating while the groove stubbornly regenerates. Works and Days rounds things off with a standout alien vocal loop drifting through pulsing bass and drums, lending the track a meditative feel that works just as well for late-night headphone sessions as it does in the deeper end of a DJ set. This is an EP for selectors who like their electro expansive, slightly strange, and built for proper sound systems.

Active in London’s electronic underground since the late 80s, Paul Hierophant has long worked in the space between techno, ambient, and dub, preferring atmosphere, tone, and slow-burn tension to obvious dancefloor tricks. The Elder Gods finds him further out on the fringes of electro, where the synths loom large and the delay and reverb units are given a proper workout. The result is widescreen, ominous, and immersive. The title track is a monolithic slab of rhythm where corroded synth pressure and ritualistic percussion feel less like a groove than some ancient machine grinding slowly back into life. Titans stalks forward on a cavernous half-step pulse, all foggy bass weight and fractured metallic vocal echos, like dub techno that has wandered into darker mythological territory and decided to stay there. The Hydra coils around a lurching low-end spine, its tentacular FX flickering and mutating while the groove stubbornly regenerates. Works and Days rounds things off with a standout alien vocal loop drifting through pulsing bass and drums, lending the track a meditative feel that works just as well for late-night headphone sessions as it does in the deeper end of a DJ set. This is an EP for selectors who like their electro expansive, slightly strange, and built for proper sound systems.

Active in London’s electronic underground since the late 80s, Paul Hierophant has long worked in the space between techno, ambient, and dub, preferring atmosphere, tone, and slow-burn tension to obvious dancefloor tricks. The Elder Gods finds him further out on the fringes of electro, where the synths loom large and the delay and reverb units are given a proper workout. The result is widescreen, ominous, and immersive. The title track is a monolithic slab of rhythm where corroded synth pressure and ritualistic percussion feel less like a groove than some ancient machine grinding slowly back into life. Titans stalks forward on a cavernous half-step pulse, all foggy bass weight and fractured metallic vocal echos, like dub techno that has wandered into darker mythological territory and decided to stay there. The Hydra coils around a lurching low-end spine, its tentacular FX flickering and mutating while the groove stubbornly regenerates. Works and Days rounds things off with a standout alien vocal loop drifting through pulsing bass and drums, lending the track a meditative feel that works just as well for late-night headphone sessions as it does in the deeper end of a DJ set. This is an EP for selectors who like their electro expansive, slightly strange, and built for proper sound systems.

Active in London’s electronic underground since the late 80s, Paul Hierophant has long worked in the space between techno, ambient, and dub, preferring atmosphere, tone, and slow-burn tension to obvious dancefloor tricks. The Elder Gods finds him further out on the fringes of electro, where the synths loom large and the delay and reverb units are given a proper workout. The result is widescreen, ominous, and immersive. The title track is a monolithic slab of rhythm where corroded synth pressure and ritualistic percussion feel less like a groove than some ancient machine grinding slowly back into life. Titans stalks forward on a cavernous half-step pulse, all foggy bass weight and fractured metallic vocal echos, like dub techno that has wandered into darker mythological territory and decided to stay there. The Hydra coils around a lurching low-end spine, its tentacular FX flickering and mutating while the groove stubbornly regenerates. Works and Days rounds things off with a standout alien vocal loop drifting through pulsing bass and drums, lending the track a meditative feel that works just as well for late-night headphone sessions as it does in the deeper end of a DJ set. This is an EP for selectors who like their electro expansive, slightly strange, and built for proper sound systems.

Marwan’s debut on Gated finds the sweet spot between dub, deep, and ambient techno. The focus is firmly on rhythm: layered percussion, spacious atmospherics, and slowly evolving textures that reveal a little more with every listen. These are immersive, patiently crafted tracks that never lose sight of the dancefloor. Tedere Onverschilligheid (which we think roughly translates as Tender Indifference) opens with evolving percussion and sweeping synth textures that gradually pull you under. Vrijheidsdromer settles into rolling bass, organic percussion, and subtle atmospherics, while Ik Ontdekte Sacramento Ezel begins with darker intent before opening into one of the EP’s more uplifting moments. Heldere Geest (Clear Mind) takes the scenic route, unfolding from fractured rhythms into a deep, hypnotic groove, before De Speech rounds things off with an expansive finale that feels equally at home closing a club set or carrying you through the last train home. Five expertly crafted, highly mixable tracks that will slot effortlessly into deep sets, and quite possibly convince you that buying “just one more record” was always a sensible idea.