Review: This four-track release showcases some of the new electro sounds coming out of Detroit. Each track is distinctly different,
ranging from fast hard hitting beats with growling analog basslines to relaxed and glitchy. 'The Dirt Nap EP' offers up a new
flavour of Detroit electro, focusing on mixing the raw analog sounds of years past with the digital textures of modern electro.
DeadLock's first release is a compilation that sets the standard for what type of material the label will be releasing in the future.
Review: DJ Di'jital's Digital Axcess imprint is as singular as it is single-minded. The US producer has been pushing hard, mind-bending electro since 2012, and he's clearly not going to be stopping that anytime soon. This new three-tracker is a nifty slice of metallic dance slaughter for fans of the classic Detroit sound, kicking off with the aggressive kick-snare patters of "Androidika", a tune that slices its way across the room with malevolence and which falls neatly into the equally pumped-up bass stabs of the weightier "Detroit Conspiracy Beats". Will Webb makes an appearance on the flip, coming through with a more broken beat loop that has something veritably UK at its core - pure industrial evil.
Walid - "Human Injection" (Western World mix) (6:13)
Hank Rideau - "Tape 1" (5:10)
Review: Seuil's Eklo imprint returns, riding the post minimal wave of electro-techno on this fine three tracker by various artists. The Unknown Cities Of Gold Vol 1 is the first release from the Paris based imprint in 2018 thus far, and features the mysterious France 98 (a member of Tearss) who delivers a deeply meditative bleep techno excursion on "July 7" following the tradition of B12. We're loving Walid's trippy retro-tech jam "Human Injection" (Western World mix), which is the kind of track you'd hear at a Berlin party like Libertine or Melliflow alike. On the flip, it's TB-303 vs SP 1200 on the deep down and dirty "Tape 1".
Review: Eccentric imprint Les Points returns for the first time in 2018, bringing with it a quartet of cuts from "Various Xenopunks". Louh kicks things off with a fizzing, saucer-eyed techno shuffler that fixes classic electro chords and Motor City melodies to a bustling and forthright rhythm track, before Nicola Kazimir dips a mentalist, bass-heavy electro workout in modular distortion and a variety of mind-altering spoken word samples. Over on side B, Walid's "Posterior Spinneret" is a fine chunk of end-of-days electro with added foreboding noises, while Audinio's "Venus Flytrap" is the kind of wonky, acid-fired romp that would once have formed part of Rephlex Records' Braindance series of releases.
Review: UK stable Bass Agenda Recordings has been veritably killing it since they kicked things into motion back in 2013. Since then, it's been nothing but quality from the imprint, and all of it from a vast pool of hand-picked artists that have remained largely loyal to them. This time it's a collaborative effort between four emerging talents, all of them into the darker varieties of that inimitable electro-techno crossover. RXmode's "Lost" is a menacing, uncompromising techno bruiser with a bleek outlook on life, and this particular form of dystopia turns even darker and more chilling on "Utopia Planitia" by W1B0. For the B-side TFHats strips things back a little, still banging out the electro, but this time adorned by a more synth-heavy atmosphere, while Slaves Of Sinus from "People Who Destroy" offers a bouncy, playful electro cut for the dance. Sick.
Review: Transhumanism is a collective of Dutch producers who first met on the dance-floor at Dave Clarke's Whip It party at Melkweg in Amsterdam, so that will give you a reliable indicator of their sound: it's brash, serrated electro that fires your synapses and awakens your every sense. Juan Atkins and Helena Hauff have been dropping it all summer and it's easy to see why. There is strobe lit action from Slaves Of Sinus, walls of high intensity sound from RXmode, rave tinged stuff from W1b0 and a more throwback jam from TFHats to round out a high impact EP.
Review: Mick Wills is back everyone; look out! Our favourite German retrovert delivers some more vintage euro sleaze yet again and boy do we love it! This time on Vielspass sub label Prego out of Rennes, France. On the A side "The Wall" is a sublime piece of Italo disco with chunky synths and soaring arpeggios backing some seductive vocals. "The Stallion" gets a bit tougher and metallic with its gritty arpeggio and dark warbling synths, complete with cut up vocals. Cosmic waves here we come!
Review: Throughout his career, L.I.E.S. regular Beau Wanzer has proved adept at delivering decidedly fuzzy, lo-fi workouts that variously draw influence from industrial, EBM, techno and electro. He's at it again on "Do The Spider Shimmy", a tidy ten-inch containing six wonderfully wayward cuts. It's a noticeably stripped-back affair, with most of the cuts existing of little more than sparse but heavy basslines, occasional electronics, minimalist electro beats and the odd droning, stylized vocal. Highlights come thick and fast, from the gently spacey synth-scape "Never Look Back" and the buzzing simplicity of "You Can't Stand On Broken Shoes", to the lo-fi no wave pop of "Choice Curve" and the raw, laid back electro sleaze of the title track.
Review: Long lost electro from 1985, Matt Warren went on to make many influential house cuts on the legendary Trax imprint. "Rock The Nation" set the foundations: crisp, funky and full of drum machine creativity, it's the type of electro jam that will have you popping uncontrollably. Kenny Jason's remix takes us down a dubbier, more spaced out route. 29 years old and still as affective now, this has aged particularly well.
Review: Over the years, Ken Sumitani has released a decent amount of rather good music, primarily under the Stereociti and Mono Village aliases. This, though, marks his debut under a new alter ego: Waveguide. As debuts go, it's something of a triumph, too, serving up four essential cuts. There are two high-octane, electro-influenced offerings: the sun-bright, funk-fueled melodic bliss of "Lemma" and the heavier, raw-sounding "Tightrope", whose skittish beats are offset by some delightfully deep melodies and even deeper chords. You'll find some similarly smooth and hypnotic chords on the brilliant deep techno dubbiness of EP opener "Quod", while "Cubic Root" sees the Japanese producer successfully wrap restless synth loops around a mildly trippy, Motor City influenced rhythm track.
Review: Given his recent obsession with shoegaze-influenced psychedelic disco chug, it's easy to forget that Andrew Weatherall is capable of crafting seriously good electro. Of course, his take on electro is far from purist. "Blue Bullet", the title track from the veteran DJ/producer's second Byrd Out 12", features spacey, ricocheting machine drums and deep space electronics, but is powered by a typically fuzzy, restless dub disco bassline. Weatherall's love of dub soundystem culture comes to the fore on flipside "Making Friends With The Invader", where discordant, psychedelic influenced guitars rise above delay-laden drum machine hits and a suitably heavyweight bassline.