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: 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: The Durian Brothers consist of rising polyrhythmic talent Don't DJ, outernational adventurer Harmonious Thelonious and Salon Des Amateurs resident Marc Matter. Following their excellent outings on Kontra-Musik and Diskant, the experimental trio build on a burgeoning relationship with Emotional Response by gathering together some of the best of their intense, globetrotting sounds. There's a great focus on cyclical rhythms, not least on the wonderful "Planete Sauvage", while "Mille Yeaux" takes a more spacious, groovy route through wooden percussion and pinging organic tones. Considering the scarcity of the original Diskant pressings of these tracks, this collection couldn't come quickly enough.
Review: Sometimes, a single side of vinyl is all you need. That's certainly the case here, as Where To Now regular Beatrice Dillon delivers her most impressive and mind-altering club cut yet. Across a mesmerizing 13-minutes, Dillon distills the essence of Minimal techno, dub, West African rhythms, early jungle and experimental noise into one, constantly evolving dancefloor burner. While the blazed vibe of dub, and the crackle of vintage vinyl are ever-present throughout, it's the subtle shifts in rhythmic emphasis - from 4/4 to breakbeat, via intricate polyrhythms - that make "Can I Change My Mind" such an alluring prospect. Few 13-minute tracks can captivate a dancefloor throughout, but this certainly can.
Review: The force is strong in this electrifying new EP from DAED, who last appeared on this label in 2017 on a VA release. There are shades of IDM to his complex synths and melodies, while kinetic broken beat drum programming powers the tracks along. The mood is melancholic on "Aria" which is so frantic it feels like it might eat itself, "Voidal" has fizzing, icy textures that will tie you in knots before "H2FSBF6" really pulls of some impressive synth acrobatics. "Ephemeris" is the warp speed closer that tarps you in a gorgeous digital world.
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: 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: 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: De:tuned's 10th anniversary series has so far served up killer, previously unreleased material from a whole host of underground heroes, scene pioneers and household names. They're at it again on this sixth volume in the ongoing series, which begins with a now rare - but typically weird and out-there - cut from early 90s ambient/techno/electro fusionists The Future Sound Of London. "Skinny XAM" is peak FSOL and sounds like it could have come from the improvised radio broadcasts that inspired the duo's "ISDN" album. Elsewhere, Monolake AKA Robert Henke does his best Autechre impression on the dark and punchy "ForC160q", while David Morley wraps undulating acid lines and creepy effects around a hypnotic ambient techno groove on "Traytor".
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: While they might have some catching up to do in terms of competing with the likes of Leipzig greats Kassem Mosse and Mix Mup, the DUR crew are certainly here to stay. Their first three releases have all been revelational, and have finally brought some new artists to the scene, so we've welcomed number 4 in the series with open arms and, importantly, open minds. Beate Furcht and Detlef Diamant both debut with these six 'dance' experiments, a curious collection of rhythmic grooves which never quite unfold into what your typical Saturday night raver would call 'club music'. In our world, that is a good thing, and it leaves plenty of room for these two newcomers to build their names from the ground up. Tracks 1 to 3 are rich in movement, and while they certainly travel across plenty of different genres and moods, all three of them lean towards the more cavernous end of the scale. On the flip, things are just as loose and hazy, with "Track 4" retaining that dubwise outlook amid its off-kilter waves, and "Track 6" providing a scintillating flow of percussive downtempo that feels right in all sorts of ways. What a release!
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: Long-serving, jungle-loving experimentalist Christoph De Babalon is on a roll. This rock solid EP comes hot on the heels of his latest inspired album, "Exquisite Angst", which slipped out in early December 2018. The four tracks offered up here are typically bolshy and bass-heavy, with De Babalon mixing and mangling IDM and Atari Teenage Riot style "digital D&B" insanity to suit his own twisted ends. In terms of highlights, we're particularly enjoying the bass-weight, skittish breakbeats and ghostly electronics of "Harakiri" and the more loose and languid - but no less bass-heavy - flipside opener "Shakes and Shivers". That said the dark and apocalyptic "Endless Inside" is also superb.
Review: We are, of course, always keen to receive any new music that comes through from the Don't DJ collective - particularly on their own Diskant imprint - but we'd been waiting on this appearance for Japan's EM Records for a long while now. There's just something unashamedly right about this collaboration, from the music itself right down to the artwork and the rest of the like-minded artists that reside on this wonderful catalogue. The Don't DJ brothers have gone deeper than previous releases here, starting with the Nippon-minded dubbiness of "Hyperspace Is The Place", followed by the earthier, more vibrant melodic textures of the wavy "Forest People Plot". On the B-side, "Hyperspace Is No Place" bangs out a steady kick drum over deep, aqueous bleeps washed amid a sparse ocean of ambient delight, and "Evolve Version" provides the 'housiest' moment on this four-tracker in the form of an ethereal bombshell with a subtle balearic charm. Wonderful - you can't miss it!
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: 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: 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".