Review: Cong Burn made a mighty splash with its first release, clearly flaunting the kind of wares you'd expect to hear from Livity Sound alumni or other such esteemed techno renegades. The second installment is no slouch either, featuring a new cast of crooked creators offering up their wares for the modern mutant dancefloor. BFTT has a weighty low end thrum powering "Public/Private", while Lack takes things in a scuffed and nimble direction. Chekov pushes out into more experimental pastures with the broken beats and displaced sound design of "Celeste" and Howes creates a wonderful strain of mystical deep house for darkened souls. Each one of these tracks is loaded with flair and personality, yards ahead of your average generic knock offs and presenting something with real merit to the convoluted world of dance music.
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.
Special Long Version (feat Sue Tompkins - demo) (10:02)
Let Suffering Become You (2:46)
Review: We're not gonna lie when we say that we absolutely love Russell Haswell. The UK industrial misfit is among the few who can truly bring the heat in pretty much any situation he's in, or on any record he's unleashing his deathly twists of distortion on. Over recent years, he's struck up a winning partnership with Diagonal boss Powell, and together they've now racked up plenty of releases and DJ sets, both bashing out the hard gear on a constant basis. Haswell is back on Diagonal here, coming through with five harsh, penetrative tracks under the umbrella of Respondent. While none of these tunes could be classified as traditional techno, or even 'dance' music, they do contain enough movement to appeal to a very specific sort of DJ - the ones with the most cojones! This is classic Haswell material at its most cavernous. Recommended.
Review: Having launched in impressive fashion with a reissue of some Greek fire walking music that was complemented well by remixes from Pete Swanson and Vatican Shadow, a second release on the archival minded KEMAL arrives and it's just as good! The focus here is Skew-Whiff, the album inspired by the works of Mark Rothko that celebrated English drummer and experimental musician Charles Hayward released on the Belgian label Sub Rosa in 1990. Taking the title of Smell Of Metal, this second KEMAL release lifts two of the five compositions from Hayward's album and they come accompanied by remixes from Optimo's JD Twitch and Future Times captain Maxmillion Dunbar, with the latter a particularly inspired choice.
Review: Antonio Marini aka Healing Force Project is back with the Tranhumanism EP on Ambiwa. Starting out with the ever mysterious "Methodical Ear", it's more of the same later on "Sinapsi Sonora" which like the previously mentioned track sounds like the dusty and emotive deepness of early Sound Signature via the tough and rusty swing of fellow Italians Relative; a nice touch indeed. He then gives us the brooding and hypnotic "Shadow Manipulation Of The Mind" awash in delay drenched organs and skeletal vintage drum machine flair. But the fierce yet restrained functionalism of "State Of Induced Hibernation" with its near tribal moments supported by a series of exotic and mindbending drones is pure bliss. We'll say it again: Marini is undoubtedly one of the most underrated producers in techno at the moment!
Review: This is the end of Rivulet Records after seven years of existence. Over the years, they have presented fabulous works by the likes of Jonas Palzer, Momo and Skipless. The very last release comes from co-founder Stanley Schmidt, who collaborates with his long time friend Hobor on the Made In Paint LP. For these two Leipzig based artists, it had been a long time in the making and to present this work as the final product felt just right. A captivating collection of downbeat electronica and ambient, that is for the most part textured and melancholic in its expression - while at time other lush and uplifting, There are even a few moments of dancefloor friendly techno, such as the soulful acid stomp of "Swirling Paranoia" or the ecstatic junglist stepper "From Outside".
Review: Horton Jupiter has been skirting around various cosmically-inclined outfits for many years now, but this release marks his first outright solo venture, and where better for it to blast off from than the celestial circus sideshow of Bahnsteig 23? The record launches in a fit of kosmische bravado, all nagging arpeggios, warbling leads, sustained guitars and a healthy dose of drama. "Eclectic Day" is certainly a fitting title. "Smokin' The Roach" is an equally bombastic affair, although with a chirpier disposition and some Italian-sounding vocals, and then "The Box" finishes the EP off with a grungy trip through bongo beatdowns and fuzz guitar for those who like their psych music with a vintage twist.
Review: Former masked techno crusader Adam Rivet started the Kess Kill imprint a couple of years ago, to showcase some lesser known talents from the '80s scene in Europe. French producer Guy Clerbois began his musical career by transforming sounds: creating rhythms with scratched vinyl records and altering their playing speeds plus detuning his guitar. In collaboration with Guy Delhalle, he released a pop single in 1983. In the mid eighties, he began what would become the very concept of Vitor Hublot, making shifted reworks of existing ones. Nice N.D.W/ industrial in the tradition of Les Liaisons Dangereuses or D.A.F. All compositions originally issued on the '185 Millions De Francophones Et Moi, Et Moi, Et Moi...' LP via his own Psoria Discs in 1986.