TAKUYA MATSUMOTO Schallplatten & CDs

Review: Short Attention Records makes a welcome return here with a new drop of wax that fits the label head into its roots in deep techno sound worlds. This one takes the form of a various artists' EP crafted with an intake feel for cosy floors and who better to kick off in that vibe than the revered Lawrence whose 'Hawser' is a groovy and melodious track. Next, New Jersey don Joey Anderson sets a slow and deep tone with 'Human Kind' which has moody vocals and Japanese artist Takuya Matsumoto follows with 'Three Flowers', a more potent and driving cut with a fine acid bassline. Rounding off the EP is 'Desired Spring' by R/K, a loop-driven deep house gem designed for both listening and dancing.

Review: On his long-awaited debut, Osaka's Takuya Matsumoto draws a clear line between the tactile futurism of 90s IDM and the emotional depth of Detroit techno, finding beauty in grit and structure in chaos. There's a cinematic quality to the sequencing, from the shimmering opener 'Drifting On The Ocean' to the gnarled syncopations of 'Dril and Acid' and the broken funk of 'Fonseca'. But what makes this record truly sing is its refusal to sit still: 'Mini' dances with jazzy irreverence, while 'Triangles' feels like a dusted-off memory from a lost Rephlex archive. Matsumoto's palette is warm, spiky, and full of movementian album built not on pastiche but on devotion to groove and experimentation in equal measure. You hear shades of Underground Resistance's urgency, Mike Paradinas' off-grid detail, and Floating Points' melodic intricacy, but none of it feels borrowed. 'Traverse' and 'Mercy on the floor' close things with a spacious melancholy that lingers beyond the final fade. This is a conversation with dance music history, spoken fluently in rhythm and mood. A richly detailed, deeply personal statement from one of Japan's most quietly consistent producers.

Review: On-point Japanese producer Takuya Matsumoto returns to Clone's Jack For Daze label with a follow-up to his brilliantly executed 85-88 EP. He's not discovered a shoe-box of DATs under the bed, but rather is purposefully paying tribute to the early days of house and techno with specific explorations of particular eras and their attendant sounds. This time around we're taken to the early 90s, with some wonderful, varied results. There's lush, FM-embellished deep house on '01 90' and edgy, jackin' techno wormholes opening up on '02 91'. Meanwhile '03 92' retains a healthy bounce and some lush washes of synth, and '04 93' tips towards the kind of garage house you'd find on a Strictly Rhythm record 30 years ago. Crucially, it's all shot through with tonnes more personality than most 90s soundalike records, so full credit to Matsumoto for spelling his intentions out and delivering the goods.