"Its taken only 3 DIY releases for Barney Khan to forge an original niche in the world of techno, and you only have to speak to him (or listen to this) to find out there is as much thought behind the production as there is in it: "With this release I wanted to explore human empathy and expectations found on the dancefloor. With Dawn I wanted to make something that appeals to the primal state we seem to regress to on the dancefloor. While not everyone empathises with, say, Radiohead or The Clash; it seems a basic human instinct the way we react to a rising tone and a pounding kick drum. I used the auditory illusion of the Shephard Tone (a play on frequencies that humans perceive as constantly rising) to push this idea as far as it would go. Wrath on the other hand was about looking forward, in terms of expectations when we go out, and also with sound design. Techno to me is the excitement that new machines can make sounds that have never been heard before, so I process my sounds beyond what a synthesiser is capable of synthesising. I spent three days resampling the horn (while the whole release took 3 months of tinkering): I like the idea that there is no escape on the dancefloor. I want to expose people to extremes in sound to challenge them, to make them look deeper into how sound makes them feel... and of course I want to do all of this in a fun and functional way...because at the end of the day thats all it is: fun" The project is clearly a labour of love, and the attention to detail shows once again as the curated artist Gianna Olcese provides the twisted cherry on what is a brutal cake."