AUBREY Schallplatten & CDs

Review: ***B-STOCK: Record has light surface marks/scratches, otherwise in excellent working condition***


Aubrey has always brought a detailed sense of sound design to his heavy techno. The Berlin-based artist does that again here on a first EP on his own Solid Groveos since 2016. Two tracks delve into his archives to come up with some rare and obscure jams from the 90s. One is 'Lose Yourself' - a bright and cosmic take on techno that prime-era Derrick May would be proud of then the other, 'Breaking Out', offers golden US-style house with nice frayed synths and smoky depths. Two new cuts are 'Chase Mind' - a cavernous and dubby, with whimsical pads and unrelenting bass locking you in a trance, then 'Mr Muscle', a twisted acid techno closer that completes a varied and vital EP.

Review: Aubrey has always brought a detailed sense of sound design to his heavy techno. The Berlin-based artist does that again here on a first EP on his own Solid Groveos since 2016. Two tracks delve into his archives to come up with some rare and obscure jams from the 90s. One is 'Lose Yourself' - a bright and cosmic take on techno that prime-era Derrick May would be proud of then the other, 'Breaking Out', offers golden US-style house with nice frayed synths and smoky depths. Two new cuts are 'Chase Mind' - a cavernous and dubby, with whimsical pads and unrelenting bass locking you in a trance, then 'Mr Muscle', a twisted acid techno closer that completes a varied and vital EP.

Review: REPRESS ALERT: Aubrey's status as a pillar of underground UK techno comes into focus with this reissue of a 1995 classic from the Solid Groove archives. 'Ginger Biscuit' is a riotous party starter, riding a funked up loop and feverish percussion to make for techno perfection. 'Long Player' is a trippier affair awash with heavy reverb, pads and submerged acid bleeps. 'Shimmer' goes even further out with some shimmering dub techno chords riding elongated filter sweeps for pure eyes closed transcendence. 'U Be Dick' seals the deal with a micro-dub excursion that nudges towards house territory with soaring synth strings to boot. Seminal stuff.

Review: 2020 marks the 30th anniversary of Allen "Aubrey" Saei's first 12" release as Panic. Because of this, it seems a fitting time for the long-serving techno producer to return with his first solo single for two years. He begins by wrapping delay-laden synth stabs and tipsy chords around a heavyweight bassline and crunchy machine drums on 'Sleeze Funk', before further exploring dub-tinged alien techno pastures on the similarly impressive 'Break'. B-side opener 'Jazz Sunrise' expertly combines driving drums and insanely weighty bass with drowsy deep house chords and jazzy synth flourishes, while 'Buddy's Groove' is on off-key trip into strange (but brilliant) loop-house/deep techno fusion.

Review: Ow long-established as one of British techno's most reliable artists, Allen Saei AKA Aubrey has decided to delve into his archives for a new series on Subwax Excursions. All four tracks here - and those to come on future volumes - were initially released during the 1990s on two labels: his own Solid Groove and Hard Hands subsidiary Offshoot. He begins with the ultra-warm and dreamy 1998 tech-house haziness of "OWW (Textures Mix)", before inviting us to admire the undulating acid lines, locked-in techno grooves and cloudy chords of "Daydream". Over on the flip he raids 1998 debut album "Liquid Funk" and dusts down the perfectly pitched deep house/techno fusion of "Dreams of Tomorrow", before showcasing "Stressed Squares", a wonky, mind-altering and alien-sounding affair that's as trippy as it is driving and percussive.

Review: Veteran UK producer and DJ Aubrey finds himself on Brixton's Dream Diary label for his next offering. As always his brand of techno is laced with ambient lushness and superbly smooth and seductive grooves that roll deep. None more so than on opener "Abstract Chemistry" with its gently persuasive rhythms and dub-wise swagger. "The Slicer" is lighter and airier, with dancing drums and vocals all working it into a lather before "Distant Object" journeys deep into the cosmos with its hypnotic, loopy bass and glassy melodies to close out this most classy outing.

Review: Assemble Music welcomes Uk legend Aubrey with a four tracker including two previously unreleased cuts from 1997 and two new ones!

Review: REPRESS! Sometimes there is a sound that lifts you so high you can't possibly come down. It's the kind of sound that many strive for, but few can ever reach. UK mainstay Aubrey has been hitting this pinnacle for years through his releases on renowned imprints such as Metroplex, Ostgut Ton, and Skudge, as well as his very own Solid Groove Records. "The Reflection" EP comes as no exception. As only a DJ and Producer of his stature can do, Aubrey goes above and beyond to take the listener through a spectrum of moods that culminate in a rounded and complex experience. From the uplifting, fast paced pads in "Peligro 45" to the disorienting rhythmic voodoo of "Roger Doger" and peak energy drive of "Train To The Fire" there is a sense of direction and otherworldly ambiance that will take any dance floor to the place it needs to be.

Review: REPRESS ALERT: Aubrey is a man on everyone's lips at the moment. After nearly 25 years of releasing music, the South Coast techno pioneer has just completed a busy 2013, including a remix for Juan Atkins' Metroplex Records and is pushing his own DOT Records to new heights. Here, Aubrey has followed up his earlier Ferox releases "Abstractions" and "Inner Feelings" with two super deep cuts on this techno jazz fuelled 4 -tracker. On remix duties are label boss Russ Gabriel and his RT-Transmissions partner - Germany's Hans Thalau.

Review: Allen Saei aka Aubrey requires no introduction given the vast amount of material he's put out since the early 90's for labels such as Solid Groove, Mosaic and Ferox, among others. It's 2015 and here is, as loud and punchy as ever, on the excellent Popcorn imprint, with four effective pieces of techno. From "Pleased To Meet You", a divvy and chord-heavy clusterbomb that slides its way across the groove with its medley of percussion swings, to "Air Strike", the mood is driving and the rhythms are right. There's even 1996's "Take Away" on there for good measure, a boogie-filtered face-melter which hasn't aged a single day since its original release. Cop!

Review: Aubrey is one of the pioneers of the house and techno sound and has been releasing solidly for over twenty five years now. Releasing through his co-owned Solid Groove label, the man's Discogs catalogue is brimming with 4/4 quality. This time he returns to the label with "Nebular", a minimalistic techno workout for Dettmanians and Klockians alike. The power tool is accompanied by a trio of remixes: Exos speeds things up and enters high-tech mode, deep house maestro Ed Davenport swings and vibes his way with a relatively more aggressive sound than usual, whereas Lee Holman goes for the pneumatic drill aesthetic a-la Bunker. Bombs be fallin'.

Review: Showing a more minimal and experimental side that the rather more straight up releases that made up numbers one and two in the Dot series, Aubrey returns with "Dot 3" a tunnelling combination of bubbling bleeps and slowly intensifying textures that veer subtly between gentle dub and scratchy industrial noise. As with previous entries in the series, the flip is given over to remixes; French veteran Master H injects some rhythmic swagger with his version, as its minimal tones are sectioned off with steely stabs and punctuated with sharp percussion, while Russ Gabriel transforms it entirely with swung tech house beats and a deep combination of vocal and pattering Rhodes piano.

Review: Aubrey's formidable thrust into techno continues, this time via the Dot imprint's second release. Where Dot 1 commissioned remixes from Paul Mac and Miles Sagnia, Dot 2 delegates remixing duties to Analog People and the emerging talent Ozka, while Australian (by the way of Japan) Little Nobody, who just published his novel 100 Years of Vicissitude, rounds out the remixes for the EP. Aubrey's original "Dot" (same name, different sound to "Dot" 1) shares many parallels with the metal cylinder resonance and cloudy reverbs of DeepChord's productions, while the Analog People's use of tidal chords in their remix paints an abundant landscape of sparse dub techno. Little Nobody submits the grittiest of the remixes, counter-balanced by Ozka's groove-laced and lo-fi workout.

Review: DSD mastered reissue from the 'Jazz The Best' Legendary
100' series. Aubrey's 'We Three Kings' was originally recorded in 1958.