Review: Since his last solo outing on Caberet in 2015, Germann Nguyen AKA Binh has impressed via fine releases on Time Passages, Perlon and My Own Jupiter. There's naturally much to admire on the Eastern Bloc EP, not least the rubbery bass, skittish drum machine bounce and vintage Detroit techno chords of opener "Greenburger". You'll find plenty more fizz and elastic synth-bass on cymbal-heavy tech-house roller "Kinziger", while closer "Revdone" sees the producer underpin starry chords with a thrusting, acid-flecked techno groove. Arguably best of all, though, is the title track, a fine chunk of revivalist Motor City techno futurism featuring a seriously mind-altering acid bassline and a cascading melody line.
Review: For the label's first compilation, Cabaret Records has decided to introduce us to their Alien Family. By the sounds of the collection, they're a motley crew of studio mutants united by a love of creaking hardware, sci-fi synths and intergalactic dancefloor workouts. Happily, highlights are plentiful, from the acid-fired, bleep-heavy throb of S-Audio's "Remote Circuit" and weighty electro crackle of Binh's "Wova", to the dreamy underwater deepness of EK Box's "Watair" and the classic deep house/Detroit techno fusion of So Inagawa's futurist masterpiece "Solitary Affair". Evan Baggs's contribution, the TB-303 madness that is "AZS", is also superb.
Review: It's been two years since Evan Baggs and Katsuya Sano opened up their Ek Box. Fittingly, their latest show-and-tell arrives on CABARET, a label that has supported the duo's activities since they first emerged. There's much to admire, not least the unfussy old school techno bounce of "Mitsuboshi", where darting, jammed-out synthesizer lines and sustained organ chords dance enthusiastically above a simple but powerful drum machine rhythm. The acid-fired techno-funk of "Maukacho" is wilder and more energetic, while "Takikomi" sees the duo tiptoe the fine line between ballsy breakbeat techno and sweeping, cinematic bliss. As for closer "Shoganai", it's punchy, bass-heavy and pleasingly intergalactic.
Review: Cabaret, the Tokyo based party and record label by Yuki Masda and So Inagawa are really on a roll right now with great releases by TC80 and Binh recently. This time it's the turn of Ekbox which is comprised of NYC expat in Berlin Evan Baggs with Katsuya Sano. "Tidally Locked" is the kind of rolling and liquid minimal deep house than fans of Ion Ludwig or iO (Mulen) will dig. This one's infectious and bound to rock any dancefloor: sure thing! The bouncy and bleepy "Seezumay" is your more standard tech house affair, backed by some wicked 808 bounce and snap. On the flip also is the hypnotic and sublime "Conversation", a functional and loopy DJ tool for the most part that should serve most DJs quite well.
Review: The latest missive from Japan's must-check Cabaret Recordings label comes from Berlin-based ERIS, AKA debutant producers Dea Dvornik and Enrica Falqui. They hit the ground running with the creepy chords, meandering acid lines, sci-fi chords and crunchy machine drums of "Dura", before successfully joining the dots between vintage electro and Chicago style jack on title track "Moments". The duo's love of electro is further explored via the skittish beats, kinetic analogue bass and fizzing electronic melodies of "Eris", while closing cut "Lalita" sees them drift happily into deep space to the accompaniment of rumbling bass, fizzing drum machine cowbells and suitably starry synthesizer melodies.
Mundo (Omar Crashed remix - feat Nilufar Zarre) (5:58)
Mundo (feat Nilufar) (4:03)
Review: The debut EP from Uruguayan-Berliner Omar Chibaro, Thanks One Thousand on Time Passages, raised a few eyebrows earlier in the year. This was primarily due to its hard-to-pigeonhole sound, which seemingly utilized stylistic elements from classic techno, IDM, minimal and breakbeat hardcore. This speedy follow-up on Cabaret Recordings is similarly fluid and far-sighted in tone. It contains a brilliant fusion of loose-limbed jazz breaks and early Warp style "bleeps and bass" (the fantastic "Damenongiveme"), a rolling but spacey chunk of early Black Dog-influenced techno-funk ("Psygan"), a couple of slabs of moody electro and the quirky, Luke Vibert-ish IDM quirkiness of closer "Omar Belka". In other words, it's a pretty tidy EP.
Review: Some may claim that Japanese label Cabaret in fact started this whole 'minimal electro' sound that's become a bit of a cult craze at the moment and it's a fair call! Following up brilliant lo-tech funk experiments by American expat in Berlin Evan Baggs and of course the master practitioner of them all, Frenchman TC 80. It's now over to label boss DJ Masda teaming up with Berlin scene hero Binh on the Box 1 EP. On the A side we've got "Ume", a thumping four to the floor electro-funk journey with some serious syncopation going on in the rhythm department. On the flip "Konbu" is more restrained and emotive with its haunting chords doing most of the work, modulating away over some seriously clattering vintage machine rhythms.
Review: It's been a good couple of years since Japanese micro-house specialist So Inagawa released a solo single. The arrival of the Airier EP on Cabaret Recordings - a label he co-founded - is therefore cause for celebration. The title track, in particular, is rather wonderful. It's warm, sumptuous and spacey, with cascading electronics, disconnected vocal samples and gently dubbed-out motifs wrapping themselves around a tactile, bass-heavy groove. It's the kind of cut that should appeal to both deep house and tech-house DJs. On the flipside you'll find another deep space shuffler (the rather attractive "Petrichor") and a rolling chunk of micro-house blessed with super-deep chord progressions (the aptly titled "Head Over the Clouds").
Review: Japanese micro-house champ So Inagawa has long been serving up delectable singles for labels such as Minimood and Trimsound, and it seems high time that he delivered an album, ten years after his first single was released. This long player for Cabaret allows Inagawa to stretch out his styles without losing focus on what his distinctive sonic identity is. The grooves stay slight and serene throughout, with delicate threads of instrumentation woven in and amongst the needlepoint drums, and the overriding feeling is one of strung-out jazz. Closing track "I Will Do It The Same Way" perhaps says it all, this is an album of consistency that hits upon a refined style and maintains it throughout.
Review: Under the now familiar Spacetravel alias, Luca Cara has released some fine music over the last couple of years, most notably a fine debut album for Perlon. Here he pops up on Japan's Cabaret imprint with a four-track EP that largely looks to Detroit for inspiration. The sci-fi inspired futurism of the Motor City can be clearly heard in the darting synth lines, fizzing cymbal programming and undulating bass of opener "Axion", before "Change Planet Stacion" adds a little acid-fuelled Chicago jack to the late '80s Transmat template. "Spirit" is darker and creepier in tone, while "Ankor What" successfully fixes vintage techno percussion and synths to a rich, deep house style bassline and chords.
Review: Fernando Zapico may have released music on countless imprints over the last 14 years, but he's still keen on notching up more label debuts. The "Mayday EP" marks another, as the Uruguayan brings his distinctive brand of late night electronics to CABARET Recordings for the very first time. He hits the ground running with "Freq From D", a foreboding electro stepper blessed with rich Motor City electronics and turn of the '90s style bleeps. "Winter Nights" sees him built energy and urgency around a groove rich in jazzy analogue bass and rolling, loose-limbed house beats, while flipside "Mayday" wraps ghostly chiming melodies and fizzing electronic noises around a snappy techno groove.