JAY TRIPWIRE Schallplatten & CDs

Review: After a sterling run of releases from Magnus Asberg and Ted Amber, Romana hit record number five with a various artists drop which sees them widening their scope without losing the focus on sleek minimal tech house. Ted Amber sets the tone to ensure the release sits naturally in the label's arc to date, whipping up the lithe and bubbling 'Little Rain' which keeps the beat slender and lets the wiggy synth do the talking. Johnny D then steps up with the outstanding, shimmering after hours dream 'Cakitos'. Magnus Asberg brings something a little spicier to the table with 'Waveform', revelling in edgy feedback flex and twitchy bleep to create a killer club cut, and then Jay Tripwire takes on 'Waveform' and adds a smokescreen to the track to lend it to the far flung end of the dance.

Review: The Blind Vision label celebrates five years in the age with a nice look back at some of its Hidden Treasures From The Past. Big Al gets underway with an immediatly catchy and dubbed out, stripped back and cool-as-you-like groove in 'If Only' (Silverlining dub). Fred Everything & Jay Tripwire then link to sublet effect on the US garage groove that is 'Sometimes I Feel' with its liquid dub chords and steamy trumpet motifs, and Grant Dell goes for a deep cosmic workout on 'Being There.' Last of all is the chunky house funk of Inland Knights's 'Hands Up', a real dance floor heater with atmospheric vocal musings.

Review: For the next edition of Mosaic's LTDX series, label boss Steve O'Sullivan invites a trio of artists to lay down some seriously infectious beats on 'Rhythm Method Vol.5'.

Kicking off proceedings with '3 Days Cooler,' from Cologne based Hidden Sequence, you'll find yourself instantly locked into the groove. One of those simple yet effective stripped back jams that balances rhythmic effervescence with subtle evolving elements, steeped in that all important dubby twist.

Next,Berlin based Yorkshireman Fletcher steps up with the robotic twinge of 'From Somewhere' - fusing electro styled drum programming with a heavy dose of psychedelics, the sort of thing you'd expect from Romanian minimalist party starters. A powerful rolling and intoxicating brew, this one will find favour among the sound purists.

Last but not least, trusted Canadian talent Jay Tripwire pairs up with newcomer JayBee with the heady, off-kilter throb of 'Cookie Maschine' - a punchy, incessant ride that just keeps on coming back for more as spatial overtones rise and fall.

Review: It's hard not to be a fan of Jay Tripwire if you like tech house. The man turns out a consistently excellent line in spaced out sounds that are masterful reduced to only their most core components. Here he steps up to work with John Howard on a pair of superb new tracks for Repeat. The opener, 'Shiva Needs Some Lovin,' is a mix of stiff drum work and coarse snares with more loose and fluid synths. The duality makes for an enticing groove that takes you off amongst the stars. 'Boom Boom' then gets more down the business with hefty, raw drums landing heavy under reverberating leads as drunken bass falls about the mix.

Review: We're big fans of Canadian artist Jay Tripwire's leftfield take on tech and here he is back with more of it on Jamie Clarke's Either imprint. Tripwire brings his murky atmospheric style to the forefront on the title track which soon locks you in, then 'Workhorse' delves into haunting minimal realms with lush synth textures and glitchy bass, while 'Still A Raver' ups the energy with bigger synths and more driving drums. It's a track with killer subs and an ever-evolving sense of fluid rhythm that will have you shaking every limb in your body.

Review: Jay Tripwire's My Life With The Machines compilation series is doing a terrific job of showcasing some of the umpteen early noughties gems buried in his catalogue and archive of unreleased jams. This is volume four (the first three instalments dropped in 2022) and features seven more slabs of intergalactic, wide-eyed, dub-fired tech-house treats. He begins with a sumptuously spacey and loved-up rework of Mothersole & Haris's 'Dumbek', before adding echoing sax sounds and dubbed-out organ lines to a heady early morning groove on 'What Kind of Voodoo Do You Do?', an alternate take on one of his most admired tribal-tinged tracks from 2002. Other highlights include the ultra-deep after-party excellence of 'Smoothin' It Out', the heads-down excellence of 'Smooth Swimmers (Swag Unreleased)' and the warming shuffle of 'Geometry'.

Review: Minimal stalwart Jay Tripwire has been as prolific as ever this year, serving up the Narcotic Oscillator EP for The Other Side and collaborating with Cristi Cons on Witching Hour. Now it's time for the Canadian veteran to serve up some boss level beats to emergent label VRNT, holding true to the rhythmic demands of the stripped-down tech house scene while finding plenty of space for expression and innovation in the sound design. 'The Real Life Of John Merrick' is a masterfully sculpted workout, while 'Pleiadian Wavelength' unfurls exquisite melodic and textural synth forms around an understated groove. Herck completes the package with a crunchy, bugged-out version of the lead track which harks back to the crooked computer funk synonymous with Canadian minimal in the mid 00s.

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


There is a load of Jay Tripwire newness around at the moment and some of it is from his back catalogue and some of it is all new. Here the longtime minimal mainstay and Canadian scene-pioneer serves up a multi-volume collection of cult tracks of his from the early 2000s. They have a west coast tech house sound and are still future in design. The likes of Villalbos have long been banging these and they sit well with the days current underground sound. Acid, dub, tech, electronic soul and more all colour the grooves.

Review: There is no doubting Jay Tripwire's credentials at this point. The Canadian has been turning out his own left of centre take on tech for many years, and always to a super high standard. Here he serves up more of the good stuff for The Other Side in the form of 'Narcotic Oscillator', firstly as a UG mix. It's dark, grubby and menacing low slung tech that becomes more airy and hypnotic as the WC mix. Ion Ludwig's Narco State mix then strips it back to a silky smooth and deep, dubbed out roller and Jay's 'Solace' closes with rubbery bass and tin pot percussive clatter for those back room after parties.

Review: During the early 2000s, Jay Tripwire was responsible for a string of killer records that blurred the boundaries between tech-house, dub-house, deep house, acid and more tribal-tinged flavours. The ongoing 'My Life With The Machines' series taps into this golden period from the Canadian producer, offering a mix of sought-after classics, rarities and unreleased jams from the archives. Highlights are naturally plentiful, with our picks including his deeply sub-heavy, Dubtribe influenced rework of Yabby You dub classic 'King Pharoah's Plague', a tough, TB-303 laden stomp through Marky Starr's 'Disco Freak', the dense-but-rolling deep house funk of 'In Your Mind', and the '4AM at a Californian free party' flex of the accurately titled 'Dope Groove'.

Review: Jay Tripwire has always operated at the fringes of the tech house world. His spaced out sounds are perfectly designed for late nights and cos back rooms. He's landed on various labels over the years and now take charge for the 15th EP from FA>lE. Opener 'Mary Wanna' is a dark yet alluring groove peppered with toms and more of Trip's signature spaced out pad work off in the distance. 'Iwontstop' ups the ante with a rattling percussive line and shuffling drums, dumpy kicks and the sort of rattling drum work that is nice and loose.

Review: There is a load of Jay Tripwire newness around at the moment and some of it is from his back catalogue and some of it is all new. Here the longtime minimal mainstay and Canadian scene-pioneer serves up a multi-volume collection of cult tracks of his from the early 2000s. They have a west coast tech house sound and are still future in design. The likes of Villalbos have long been banging these and they sit well with the days current underground sound. Acid, dub, tech, electronic soul and more all colour the grooves.

Review: There is a load of Jay Tripwire newness around at the moment and some of it is from his back catalogue and some of it is all new. Here the longtime minimal mainstay and Canadian scene-pioneer serves up a multi-volume collection of cult tracks of his from the early 2000s. They have a west coast tech house sound and are still future in design. The likes of Villalbos have long been banging these and they sit well with the days current underground sound. Acid, dub, tech, electronic soul and more all colour the grooves.

Review: Canadian maestro Jay Tripwire is a long time underground stalwart with countless gold-dust releases to his name, and still the modest artist keeps pushing on with more stellar tech house immersion heaters. Here he's been invited to Euphoria for an EP that burrows into the most shadowy corners of his sound. "H3misphere" is a spooky jam driven by a shuffling groove and offset with some dubby flourishes - a perfectly balanced workout for the club with a seductive air of mystery lingering around the rhythm section. "Werqles" is a lighter affair, but it's no slouch in the freaky department as a plethora of disembodied machine wriggles ping around the crisp 4/4 throwdown. The whole B-side is given over to SIT's "Remux" of "H3misphere", which holds the groove down in a more linear manner but keeps that chilling atmosphere intact just behind the beats.

Review: Jay Tripwire and Christi Cons is a mouthwatering partnership for minimal fans. Both have mastered their own distinctive take on stripped-back tech sounds and here they pool their skills for two new cuts on the fledgling Witching Hour label. 'Boundaries' is a perfect cosmic excursion, with gurgling bass and twinkling synths building a vibe that eventually takes flight on a floaty groove. 'Phantom Zone' is a more tripped-out cut with plugging bass, ambient pads spiraling round the groove and molten acid. The stylish dub techno remix from Steve O'Sullivan closes out a top-draw EP.

Review: Steve O'Sullivan invites a trio of artists to lay down some serious head nodding beats for 'Rhythm Method Vol.4'. Calling on one of Canada's trusted talents and solid purveyors of deep grooves Jay Tripwire leads the charge with 'Mung Bean Medley'. There's simply no messing: pushing through a taught rhythmic workout, incessant toms and metallic tones etch deep into the mood - awash with dubbed out atmospherics and crafty touches that more than a give a nod to the dark house dubs of yesteryear. On the flip, 'Hidden Sequence' inject their creative flex, demonstrating the all important art of minimalist bounce with 'Synchro'. The kind of fully swung beats and tripped out twinges that brighten the groove more often than not when 7am comes calling. The svelte bustle and soothing tones of 'Makka' from Fletcher by contrast, soothe the mind and leaves plenty of room to kick back as weary limbs take their toll: a fine tonic indeed.

Review: Jay Tripwire has popped up a lot recently, which is always going to be good news for fans of those freaky late-night tech sounds that he is so well known and loved for. He kicks off Serenity's fifth release here alongside Jehr on 'Magic Man', a deep cut underlapping drum funk and lots of whirring machine sounds. Parisian space techno talent Cyberduck then takes care of both tunes on the flip - firstly 'Arzach', a deep and dynamic cut that hurriedly scans a vast cosmic world with silvery drums and lush melodies. Then 'Cerclon' gets a little more edgy, with dark and nagging baselines moving up through the mix as the crisp, well-swung tech drums power along.

Review: It's time to get to know Club Magnus, a new label that launches with Moonlight 001, a various artist collection that brings together some fresh contemporary talents across three forward thinking cuts. Jay Tripwire opens up with his scintillating tech house sounds embellished with all the usual acid and after party freakiness. Magnus Asberg then keeps you on your toes with his nimble drum work and the cyborg electro funk of 'Sunset' (vs Sound Of The Suburbs) while Microman closes with the more dark, involving and intense techno convulsions of 'Inga Aviseringar'.

Review: After a whirlwind first 15 months, Lost My Dog are marking their 10th release revisiting some of the labels biggest tracks with fresh remixes. First up is Julian's mix of "Come On" which keeps the original hook and fuses it with 2020 style beats, a stomping electro tinged bassline and quirky keys. Harold's mix of "Smoketoke" has an old school feel to it with a 90s garage style synths, a deep growling bass, techy flicks and driving beats to carry it all along. Pete's dub of "Everytime" is a chilled out groover with squelchy beats and warm bass. The original vocal parts, crafted into keys, stabs and pads, generate an ethereal mood which peaks as the track descends into an inviting, smooth breakdown. Tommy's take on "Gettin' Serious" rounds things off, giving the track an acid twist; aimed directly at the dancefloor his mix gets down to business from the off with pumping beats and a bassline that does all the work. "The whole EP is large, Julian Sanza remix of Tommy Largo is the top pick. But all of them are amazing" - James Talk, "Julian Sanza mix does it Hot for me on this EP. This track is poppin and jumpin like a wet noodle out the boiler. Julian's mix will definitely be on my top ten" Spettro (Doubledown, Amenti), "Great EP! Love the remix of "Gettin' Serious". Real groovy" - Tyler Stadius, "I like the tracks a lot!" - Jay West (Lowdown, Agave), "Great! Charted #5" - Murray Richardson, "Wicked tracks. Reckon that there's something in the package for all occasions. Particularly liking the Julian Sanza remix of "Come On" - nice funked up 303 vibe. Will be rocking these in Brazil later this month!" - Shafunkers (Saved), "Great production, loving the Pete Dafeet dub" - Luckystars (Urbantorque), "All round cool release, Harold works his tech magic as ever, the pick for me goes to the house vibes 'Come On', cool lazy acid house...wicked!" - Leigh Morgan (Urbantorque), "Julian is quality. Nice gentle start with the original acid - then two minutes in, hold on to your drinks 'cos you know people are about to rush to the floor!! Pete has nailed a "calm before the storm" track that DJ's should lap up. This is the unsung hero of your set that tirelessly works for the team so the strikers can score and get all the credit" - Cosmic Groove Transmission (Brique Rouge, 2020).

Review: A genuine meeting of minds here, as rising star (and Real Gang Records founder) Danny Miller joins forces with long-serving deep, dubby and techy house maestro Jay Tripwire. What's on offer is undeniably alluring: a three-track salvo built around deep, hypnotic, sub-heavy grooves and wonderfully wayward and wonky electronics. The trippy and mind-altering nature of the duo's combined sound is best exemplified by A-side 'Cut001', where lo-fi bleeps, echoing analogue electronics and ghostly chords wrap around crunchy machine drums and deep sub-bass. They opt for an even more sparse, druggy and dubbed-out tech-house sound on 'Cut002', before joining the dots between bleep, Paul Woolford's 'Erotic Discourse' and Tripwire's dub-fired house sounds on 'Cut003'.

Review: The latest Discotech release finds tech house stalwart Jay Tripwire stepping up for a batch of potent party starters. 'Jaybee Loves Old Shit' is precision-tooled workout for those who need a driving beat track laden with bouncy congas and a throbbing bassline. 'For Nathan' lets a little more synth work into the mix with some distant, dubby chords and analogue bleeps, but they're managed carefully. 'The Omen' is where things widen out more with cascading pads and strafing, low-end monosynth action creating a haunting, late-night mood which Alex Arnout jumps on to cast off into swirling, funked up after hours territory.