Elektrotribe has been one of Berlin's most industrious independent labels since founder Romain Favre launched it in the summer of 2006 as an artist community built around the internet; a platform for producers from across the globe to collaborate, exchange ideas, and release music without geographical constraint. Twenty years on, the label marks the occasion with a new album from one of its longest-standing associates.

Manchester-based Paul Carroll has been operating under the Dead Sound alias since 2008, initially inspired by Birmingham's legendary Atomic Jam nights before carving out a distinctive path through industrial techno, broken beat, UK garage, and dub techno.

His releases on Perc Trax alongside collaborator Videohead (Ben Bowler) earned early support from Dave Clarke, Richie Hawtin, James Ruskin, and Surgeon, while further output on Gynoid, Decoy, and Labyrinth has kept him a respected fixture in the harder end of the UK underground.

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Vault Tracks, released under the combined Dead Sound and Digital Filth monikers, collects twelve previously unreleased productions spanning the full breadth of his sound.

The album opens in a suitably energetic fashion, as 2020 Hindsight’s techno backbone provides an exhilarating catapult into Dead Sound’s world. This driving 4/4 gives way to the more intricate rhythmical nature of Only Thought. One for the fans of technical sound here.

We’re on an altogether housier tip next, albeit retaining a dark undertone; Gimme Some More features a soulful monologue pertaining to the connecting nature of music. It is somewhat reminiscent of a Green Velvet track in that sense. The drop at the mid point is glorious.

Drowning takes hold next, its aqueous bass synth throbbing at the depths of the production, a track that sits comfortably in the techno category. We’re at the other end of the “least pleasant ways to die” spectrum next with Burnt Inside, a track that you might have guessed boasts some superbly dark acid vibes.

Taking us to the mid-point is the electro bass frenzy of Slave to the Rave, delivering a break-drenched cut before the industrial sonics of Sex pulverise your body in an altogether different fashion thanks to that syncopated kick and siren synth.

Blid folds out into a brilliant chiptune arpeggio across a dark and stormy breaks track, with the experimental techno of Keep it Raw literally practicing what it preaches. Lovely little halfway breakdown before a roundhouse kick from those bottom end percs whips us back into the room.

Another corrosive one next with the ph level right down at 0; At Night is definitely one of those tracks you’re gonna crack out to send everyone in the room berserk. The penultimate track Neverright follows next with a distinctly dubby undercurrent.

We round out with the ruff-edged UKG sound of Real Shit. “This is real shit” we are told. Too fucking right it is, m8.

Grab your copy on Bandcamp pronto.