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: 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".
Review: DJ Central presents three new aliases on this elegantly put together 12". Conjuring up the perfect recipe for a DJ Cake, Central blends and explores the likes of pulsating atmospheric techno on the track "Balast", smoothly escalating breaks on "Ko Ko Dak Dak" and hazy crackling ambient on the finale "Daeksel". Unique, inspiring and truly excellent works from the one they call DJ Central.
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: 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: REPRESS ALERT: Gravity Graffiti has been doing great things with its series of split 12"s already, but now the Italian label goes one better for its tenth release with this mighty double pack of heavy hitters. First up is the ever-untouchable Yoshinori Hayashi, who gets as straight up as he possibly could with the freaky house burner "Dissociative." Telephones is feeling particularly dubbed out and groovy on "Kalimbalimbo", while DB.Source and Riccardo Schiro take things strung out and textural on "Montevago". Dynamo Dreesen is in rave mode for the pepped up and delightfully weird "Reactivate", leaving the final side to Oyvind Morken & Kaman Leung's chugging "Tunnel Visjon" and the rubbery side swipes of Acidboychair's "The End (At Any Speed)".
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".
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: There's something strangely alluring about this curious - but undoubtedly inspired - debut EP from Belgian producer Victor De Roo. While brand new, it draws influence from a variety of vintage styles - Berlin school ambient, new wave, The Duratti Column and leftfield European synth-pop, in particular - and sounds like it could have been recorded straight to cassette in about 1984. De Roo's quirky, atmospheric musical sketches - the slo-mo early morning dream pop of "Voorbenachte Rade", spacey synth-scape "Beland In Bed", post-punk Factory Records drone of "Nachtdichter" and beautiful opener "Gewoon" - all come accompanied by stylish spoken word vocals by fellow Low Countries resident Alex Deforce, whose Flemish drawl adds an extra layer of cultured artiness.