Secure shopping

Studio equipment

Our full range of studio equipment from all the leading equipment and software brands. Guaranteed fast delivery and low prices.

Visit Juno Studio

Secure shopping

DJ equipment

Our full range of DJ equipment from all the leading equipment and software brands. Guaranteed fast delivery and low prices.  Visit Juno DJ

Secure shopping

Vinyl & CDs

The world's largest dance music store featuring the most comprehensive selection of new and back catalogue dance music Vinyl and CDs online.  Visit Juno Records

Technicolour to issue Hieroglyphic Being record

Stream the lead track from The Fourth Dimensions Of A Nubian Mystic in full and read our interview with Technicolour label boss PhOtOmachine.

Founded last year and inaugurated by Michachu affiliate Raisa K, the Technicolour label has developed into one of the more interesting labels operating out of London. Overseen by producer PhOtOmachine with the assistance of Ninja Tune, Technicolour has steered a course through some unexpected yet rewarding avenues of electronic music. This year alone the label has issued NameBrandSound material from Brukstep veterans IG Culture and Alex Phountzi, offered a platform for BNJMN to reveal his latest shades of techno and managed to coax a rather brilliant EP of unclassifiable electronics out of IZWID boss Kutmah.

The label’s next release finds them turning to Hieroglyphic Being, a man whose body of work ensures he needs no real introduction. Taking the shape of a two-track 12″ entitled The Fourth Dimensions Of A Nubian Mystic, the forthcoming record is due out next month and the sublime 11-minute opener “The Fourth Dimension” can be streamed in full below. As Technicolour’s output has perhaps fallen under the radar of wider acceptance we took the opportunity to quiz PhOtOmachine (real name Dean Bryce) about his intentions for the label and what we can expect from it beyond the release of the Hieroglyphic Being record.

Hi Dean, Technicolour has really blossomed as a label since it launched last year – what were your specific intentions behind its foundation?

One of the most important things was providing another platform for this type of music. There was no manifesto other than to contribute to the culture and the fact that we heard a lot of music that we wanted to release but maybe couldn’t so Technicolour is a place where that sound can live.

Can you explain the thinking behind the name? It seems an accurate reflection of the music the label has released thus far too, not only in the variety of styles but the vivid approach of the artists you have chosen to work with – would you agree?

The first solo record I put out was called Technicolour but I also didn’t want the label to be pigeonholed and that name really seemed to reflect that. There’s been a lot of great oddball music from some really creative artists, perhaps exemplified by the latter releases. There’s been some straighter stuff too but I think it’s been the slightly more out there releases that has caught people’s attention.

How does Technicolour’s relationship with Ninja Tune work, and what kind of help do they offer?

I’ve been doing A&R at Ninja Tune for a while now so the relationship was already in place. Ninja Tune has a rich musical history and, they’ve been looking for an outlet for music which might not necessarily fit with what they are doing as a label currently so when I suggested the Technicolour imprint it made a lot of sense. It’s a collaborative process which gives a lot flexibility and provides a network which usually wouldn’t be available for a label of this size.

Your last release, from Kutmah, was quite special as he rarely releases his own music, and it seemed to come from a very personal place. How did you come to work with him?

I’ve known Justin for a while and we share a similar group of friends. Right after he got deported from L.A. he lived in Brixton for a while with a guy I know so I found out he was making music on the down low. It was literally a case of going to his house and asking if he wanted to do a release. He was into it so we went through a lot of material that he wrote in this dark room and came up with Our Mannequin. It was supposed to be called You me and our Mannequin but he thought that was too creepy. He’s creative and a very funny guy too so working with him is always fun

Can you tell us about the next release from Hieroglyphic Being? It seems like quite a bold statement for the label to make, as Jamal tends to pick his projects wisely.

A kind of similar story to Kutmah, but a friend of mine was staying with Jamal in Chicago and it was around the time I was reaching out to him about a release. We got speaking and he was really into what the label is about so went went through some tunes and picked out what what I think is one of his strongest releases. I’m a big Ron Hardy fan and Jamal is directly influenced by him so I guess we connected. You need to check out his RA Exchange if you haven’t already. That’s probably what turned me onto him the most as a musical individual.

What else do you have planned for Technicolour over the coming months?

I didn’t really plan on putting my own material out but I’ve got something lined up over the next few months. We’ve got some new guys in the pipeline and a few known names but I’d rather not prime you and just let the music speak for itself when it’s released.

Do you feel the artists and music you choose to release on Technicolour are a reflection your own musical style, or are you trying to do something more broad with the label?

The music is broad but even the melodic straighter material has a melancholic edge to it if you look beyond the surface. Some of the rawer stuff is a reflection of what I do but musically I pull influence from everywhere.

Technicolour will release The Fourth Dimensions Of A Nubian Mystic on October 8


A1. The Fourth Dimension
B1. Star Time

Header image by Gavin Mecaniques