Review: With this release, WOW Signal Records presents a modern view on bass oriented electronic music. From Russian producer Cyberworm's "Breath Slow" (future garage), Kontext's dub techno epic "Doubling Theory (Meteors)" to the techstep of Melotronics' "Launch Pad" and Diagram's leftfield drum & bass on "Orbital Collapse". These genres are united by a uniform deep sound of the planet. They even released it on vinyl, because they are intent on spreading the music that makes them vibe with other bass lovers the world over.
Review: Last spotted on Warp on the inaugural volume of their Cargaa series in 2015, Nigga Fox returns to the UK institution with his debut label EP "Cranio". As always with the Lisbon underground kingpin, fusion and ardent experimentalism characterise the project as we're shifted and beguiled in equal measure at the rising paranoid acid tendrils on "Sinistro", the thumping obese kicks on "Poder Do Vento", the jarring techno necksnap of "Maria Costa", the lucid dreaminess of "KRK", the obscenely tripped-out voodoo instrumentation on "Waaba-Jah" and accordion squeezing technoid sketch "Karma". Singular.
Review: Firecracker Recordings' Unthank label has been a decidedly intermittent concern since it's eye catching arrival back in 2010 with the Parris Mitchell mangling antics of Berlin dwelling Estonian producer Bakey USTL. It makes for somewhat poetic reading that the label's sixth release should usher in the return of a producer whose last apparent production credit was a contribution to the Fudge Fingas cut "Fidgety Friends" way back in 2007! Quite what the West Yorkshire based Denaji has been doing in the subsequent years is not clear, but your focus should be on his contributions here, with the Wuhti 10" quite sublime. The title track and "Dharma Dharma" are the sort of star gazing boogie and fizzing deep house that fit snugly into the overarching Firecracker sonic canon and do check the wondrous remix of "Wuhti" from Norwegian Sex Tags mastermind DJ Sotofett.
Review: Once every three or four years, Kassem Mosse drops a new record under a new alias. We've loved the producer's mystique, which he has retained since day 1, because it is representative of a true artist and musician, evolving new ideas while remaining grounded in a particular aesthetic that is personal to him. This debut DJ Residue 12" drops on Will Bankhead's TTT, whom he has kept tight relations with over the years, and has hit us pretty hard. In fact, it is the most relevant depiction of techno, or general warehouse music, that we have heard this year, shifting and morphing endlessly, going from the regular to the utterly insane with pure ease. Sludgy beats, eerie atmospherics, and Mosse's intricate percussion patterns form a beautifully dark variety of noise music. Recommended, as per usual.
Review: Bogdan Drazic's two debut EPs for Giallo Disco, a pair of monumentally aggressive EBM/techo deviations, were good enough to capture the attention of Will Bankhead's TTT stable, propelling the artist onto a new stage, with a new set of listeners. In fairness, Bankhead has picked some pretty 'out-there' material from Drazic, with the opening "Nang Nubia" being a marvellously twisted whirlpool of techno and metallic power-core, followed by the quirky mechanics of "Goa, Goa, Gone". For the flip, Bogdan delivers "Jack Dat Wabbit", a more bass-heavy stomper with a supremely off-kilter groove under its hood, whereas "Trip This Joint" waves its heavy folds of bass over a broken, disJOINTed medley of beats. Lush. TTT-approved.
Review: The partnership of Kassem Mosse and Beatrice Dillon; Dillon Wendel is a place for the two respected artists to explore soundscapes, aesthetics and synthesis in pastures aeons away from the dancefloors they're most familiar with. Both compositions weighing in over 15 minutes, they're experiences which challenge form and convention; "Pulse" ripples with its namesake, a texture that buzzes and drones in endless waves while "High" mutates a warmer, grainer tone with dizzying effect.
Review: Benjamin Brunn and Dave Wheels are old studio buddies, having worked together on and off since 2006. "2000", though, is their most ambitious joint project yet: a collaborative album for Sushitech that offers up breezy, melodious and cheery fusions of heady dub techno, gentle electronica, chugging sofa-friendly haziness and glitchy late night hypnotism. It's an interesting blend but one that certainly hits the spot. Highlights include the horizontal pulse of "Orainge", the wonderfully hypnotic after-hours throb of "Iratamoto (Version)", the bold and sun-kissed undulations of "In The Club" and the pie-eyed warmth of "Waldeck".
Review: Helena Hauff's label is back, this time presenting a various artists 12" that heralds the start of the No Return series. The release starts on a mystical bent with the Eastern-tinged death electro of "El Carmel", sounding ripe for a Hague-friendly warm-up session. Neud Photo then take over with a dystopian trip through rich synth tones coloured in dark hues for the bleakest of robotic fantasies. Antoni Maiovvi fills the B-side with the slow grinding bombast of "The Dig", bleeding out a noirish take on coldwave for the darkest hearts to swoon to.
Review: Previously spotted on Udacha and sharing an excellent LP with A.E.M., Dices has already demonstrated a knack for wonderfully delicate ambient compositions and off-kilter 4/4, and the goods just keep on coming via this stunning 12" for Rough House Rosie offshoot Pandora. "Part 1" is a wonderful opening gambit powered by lightly pattering percussion, while "Part 7" enlists the help of Nick Ossia to float off into the swirliest of liquid synth baths. Ossia is also on hand to help with the more abstract sonic shapes of "Part 5", while "Part 3" provides a wonderfully energised, drum-rich ending to a truly standout EP.
Review: Datawave is the project of Brussels based Gaetan Votion, who returns to Natural Sciences for the first time since 2017's "Submersion" - which was featured on their V/A Future Works Vol 3 compilation. Taking up where he left off last time, Votion explores the dark and dystopian realms of electro bass on this self-titled EP, taking the best of the genre's classic aesthetic, while delivering a stylish and contemporary edge. From the A side's introverted and futuristic thriller "Hidden Outpost", through to the high energy workout of "Stellar Wind" on the flip, this certainly proves to be one of the week's highlights in our electro releases.
Review: Meander boss David Koch AKA DeWalta has been a busy boy of late. Hot on the heels of his well received "Lyra" album comes "Lyra Pi", an expansive EP that's apparently meant to be a "partner piece" (or, as some in the Juno office called it, "an encore to the album"). Intriguingly, it sees him dispense with beats altogether; instead, he offers up a quintet of spacey, otherworldly ambient and experimental electronic cuts of the highest order. Highlights include the unsettling, wayward synthesizer arpeggio lines of "Fugacity", the dub techno style deep space hypnotism of "Lyra Pi", the droning darkness and buzzing, end-of-days electronics of "Pulses", and the fluid bliss of mind-altering closing cut "Photons".
Mersey River (Gordon Pohl Reimagination part 1 & 2) (16:07)
Review: Tel-Aviv label Malka Tuti, ran by Asaf Samuel and Katzele, is an imprint too often overlooked and underrated, even for its iconic aesthetic and single-mindedness. However, we don't mean that to say they are predictable - far from it. The label has constantly provided us with new artists and new forms of experimental dance, with this latest EP from Die Orangen providing even more food for the ears. The duo haven't put out too much music, as of yet, but their mystical shade of techno sounds full of interesting influences and ethereal nuances, much like the opening rhythm of "Yaranabe (live version)", along with the stuttering, off-kilter tribalism of Tapan's version of "Metal Man". The Gordon Pohl 'Reimagination' of "Mersey River" comes in two parts, culminating in a deep and dubby rhythmic dance with an ambient stance. Strong. Tipped.
Demdike Stare - "Demdike Stare Meets Shangaan Electro"
Demdike Stare - "Demdike Stare Meets Shangaan Electro" (version)
Hype Williams - "Hype Williams Meets Shangaan Electro"
Hype Williams - "Hype Williams Meets Shangaan Electro" (version)
Review: Honest Jons are our undisputed favourites as far as bringing forth new and unexpected projects goes. One such project is their glorious string of releases which saw several contemporary electronic producers re-interpret the South African electro deluge of Shangaan Electro, a near 10 piece band consisting of wild dancers, freaky masks and ludicrously memorable anthems. This release features the experimental duo of Demdike Stare and the mysterious but wonderful pair that is Hype Williams. Demdike's remix is a sparse and sub-aqueous drone filtered through irregular bongos and melting swirls of voices, whilst the "version" pretty much reduces those already scarce drums to mere memories. Over on the flip, Hype Williams create a sublimely majestic rhythm, those vocals swaying so darn effortlessly over the rugged drum kit pouncing lazily beneath it. Their version injects a severely chopped slice of bass and concentrates primarily on the percussion - mounds of delays and reverbs present in true HW fashion.
Review: When it comes to crafting distinctively off-kilter "ethno-techno" built around hypnotic, polyrhythmic drums, there's nobody quite as good as Florian Meyer AKA Don't DJ. Further proof of his majesty in this regard arrives via "Eternal Return", the epic, peak-time-focused opening track from the producer's latest double-pack excursion. Those seeking percussive, floor-friendly fare should also check "Circular Time", another bongo-laden tribal techno workout that sees Meyer get locked into an attractively organic drum groove for the best part of 12 minutes. Meyer's ability to conjure up odd but brilliant home listening fare is explored elsewhere on the EP, with the noisy, abstract weirdness of "Perpetual Flow" being joined by the chiming, hedgerow-fresh ambient bliss of awe-inspiring closing cut "Perseus-Pieces".
Review: Hamid's HPLS label has been strangely quiet this year, so it's welcome news to see one of the most intriguing operators on the outer reaches of the minimal house scene back in action with a new talent to share with the world. DCHA-DCHA makes a bold arrival with a two-pronged release comprising of ten tracks in total. On this first part of Opus Incertum, the title track makes a bold statement of intent with its low slung groove carrying all kinds of splaying, splashing and otherwise spaced out sonic trysts. There's a more discernible strut to "Te Lubesc," while "The Age Of Solon" invites Planet X into the mix for a spaced out slice of machine boogie. With the abundance of ideas spilling out of part one, it promises a lot for part two to follow.
Review: With Hamid's HPLS label reigniting with the fresh, untethered sounds of DCHA-DCHA, we arrive at the second instalment of Opus Incertum already expecting some wild sounds. Fortunately label and artist don't disappoint, and we dive straight in with the unhinged aqua-industro-funk of "Morning Mimosa." That's swiftly followed up by "AGLS," which keeps the vibe liquid while welcoming a richer variety of marine life into the studio. "GalerianPlatz" makes the leap towards electro, with the surrealism tap still pouring wonderfully unexpected colours, tones and textures into the mix. At every turn this record, like its part one counterpart, surprises and delights with its original approaches.