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: 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: 10 Germany seem to get it bang-on each and every time! For a label who has released the likes of Ancient Methods, Perc and Matthew Herbert, among other legends, we'd expect nothing less than the spectacular and this is exactly what we got with this latest collaborative effort by Italy's Daniele Brusachetto, Jansky Noise, Human Larvae and Damaskin. Brusachetto's "Grigi Ma" is weird and wonderful pop tune set against a backdrop of cavernous percussion rattles, while Janksy Noise's "Black Night" is a full-on drone monster. Over on the flip, "Ruined" by Human Larvae is a fuzzy, noise-fuelled scorcher, and "Apocalypse" sees Damaskin produce the EP's only shred of rigidity thanks to its consistent 4/4 kick...accompanied by some rather gnarly power electronics, of course.
Review: Digital Poodle are one of those outfits from the 1980's who happened to stumble onto techno by accident, focusing on making deadly, driving songs rather than fitting into a genre or style. Alongside them there are the likes of Psychik Warriors Ov Goia and a few others, but this stuff is pretty damn hard to come by, and releases like this are few and far between. The impressive Suction label out of Canada has decided to reissue their "Work Terminal" tune - a screeching, venomous bit of screamo EBM - backed by a trio of remixes. OH transform "Work Terminal" into a more direct techno bullet with subtle swarms of the original's screams, while Solvent give it a more aggressive reshape a-la electro. It's the Metro Tekno version that gets our attention, though, and those heavy percussion patterns must surely be total winners on the sound system.
Review: Dario Dell'aere cut his teeth in obscure Italian synth-pop outfits Ice Eyes and Fockewulf 90, before attempting to launch a solo career in 1985. While that didn't go all that swimmingly, his lone solo single, Eagles In The Night, has long been considered a hard-to-find Italo-disco classic. Here, it gets the re-issue treatment from Dark Entries, who as usual replicate the original track listing and artwork. Slower and more atmospheric than many Italo-disco tracks of the time, Eagles In The Night draws influence from eyeliner-clad new wave pop of the period, with Dell'aere's unusual English vocals stretching out over chiming melodies, bubbling synth lines and dreamy chords. The potency of the original production is confirmed by the superior Instrumental version lurking on the flip.
Review: As Until My Heart Stops turns 10, we head back across the Atlantic , this time to Boston and a stunning ep from the still hugely under rated DeViere.DeViere is a music producer and radio disc jockey (Progressive Black, 90.3 FM WZBC Newton) based in Boston, Massachusetts. He first came to our attention with the Transcendental Numbers ep on Jamal Moss' Mathematics label in 2012 and we've waited on each release ever since, including last year's huge Future Shock Disco ep (a collaboration with Jamal himself). Here DeViere presents 3 beautiful examples of his deep, soulful craft and a fitting way for UMHS to hit double figures.
Review: Ahead of an impending, headline performance at this year's edition of Berlin Atonal, Richard Fearless opens up his Death In Vegas project to the Industrial icons that are Chris & Cosey. It's "Consequence Of Love," an early highlight of the most recent DIV LP, Transmission, that is the focus of attentions here, and arguably a track that looks to Chris Carter and Cosey Fanni Tutti's Throbbing Gristle for inspiration. The original version is presented here on 12" format for those Death In Vegas loving selectors out there who want a loud pressing of the track and the accompanying Chris & Cosey remix does take it to a different place. That breathy vocal is given more prominence and fairly dominates the remix.
Review: This new Syncrophone sub label named For Those Who Know is dedicated to 'alternative sounds' and presents mysterious French dark ambient industrial act Dedale. Starting out with the morose and rolling dub textures of "Preface de 1977" and the the woozy heroin house of "(Le) mythe" on the A side. On the flip, there's some haunting retro coldwave vibes on "Structure" and Meandres" respectively. Also features some lovely artwork and design on the sleeve by Anne Raffin / Annomane. We certainly are curious to see what kind of obscurities this label brings to us next!
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: By now Future Nuggets have surely been established as one of Romania's leading exponents of leftfield electronic oddities, and they don't disappoint on the surprising delights of this new 7" from Renato Din Sala and Ion Din Dorobanai. There's an Eastern lilt to the vocals and melodies on both tracks, but they're framed by some wonderfully quirky synth parts and budget drum machines. "Nu E Injoseala (N-am Carti De Credit)" in particular capitalises on cranky monosynth squelch and organ wails, while "I Love You Viata Mea (Lema)" takes a more energetic approach and works some Rhodes-like sounds into the mix.
Review: We at Juno HQ originally coined what is now known as the 'grey area', a sub-genre which has flourished in recent years in the post-Autonomic idiom of drum and bass, popularised by groundbreaking underground Berlin imprints such as Samurai Horo, Hidden Hawaii and of course the mysterious Weevil Neighbourhood. Repetition/Distract is Felix Hoeck aka Felix K, who originally released Salles Des Perdus ?in 2012 and it now gets a much needed repress. When you consider more recent releases on the label by the likes of SPR (with his black metal/dark ambient crossover) as well as Steven Porter's Katsunori Sawa who delivered last year's brutal Secret Of Silence LP, you can really trace back the original vision of the label through this EP with its sombre, textured noise experiments reminiscent of early Cold Meat Industries.
Review: Dark Entries has truly become a sensational imprint over the last few years, and they are showing no signs of stopping. In fact, they've just gotten better and better with each new release. We have a special one on our hands this time and, although the label have reissued a whole heap of glorious material, this is NEW music from the very best out there. Chicago industrial-tech-goth Beau Wanzer teams up with Unknown Precept's Maoupa Mazzocchetti, and the dup get on like a house on fire under their new De-Bons-En-Pierre moniker. Crepes is a gnarly little EP, blurring the lines between techno, EBM and industrial, but doing so in a way that makes the three genres sound like they should never ever be apart from one another. "Whole Body Irradiator", for instance, has all the beat elements of techno and yet the sounds are drenched in a punky, fuck-you kinda style that would make the Berghain faithful run for their lives, while we could easily imagine the torn, glitchy beats of "Francine" residing on some long-lost post-punk 7 inch from the likes of Pete Shelley. This is some mad gear - don't miss it.
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: New kids on the reissue block, New Zealand's Strangelove Music are off to a flying start with this beautiful 1983 art pop record from subversive chanteuse Lena D'Agua. "Jardim Zoologico" fuses electro boogie with Afrofunk with healthy measures of cosmic polish while "Tao" is a straight up Balearic gem that sparkles with sentiment and horizontal soul. Only ever released on Portuguese label Valentim De Carvalho, this reissue is over 30 years overdue.
Review: Junto Club kicked off Snap Crackle & Pop late last year, and now the label returns with the debut solo release from London-based outfit DEEDS. While Rollo and Kiri Inglis may have previously popped up on an obscure compilation on Anti-Ghost Moon Ray, this record should see their coldwave sound shoring up with many more adventurous listeners. "Video Dreams" is a beautifully melancholic slice of electronica while "Unknown" reaches for euphoric heights. Remixes from Bezier and The Field round the record out as a wonderful exercise in emotive home listening electronics for sensitive souls.
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: Brothers Fabio and Marco D'Arcangelo can trace their roots back to Rome's industrial techno revolution of the early 1990s, but are arguably best known for their frequent outings on Rephlex. This EP originally came out on Richard D James and Grant Wilson-Claridge's imprint way back in 1996, when they were still beginning their musical journey. It remains a blisteringly good six-tracker, with highlights including the raw, Aphex Twin-influenced "Somewhere in Time", the guttural, fuzz-drenched post-electro rhythms and Kraftwerk bleeps of "Diagram VII (Milk Mix)", and the pleasingly skuzzy industrial hip-hop of "Skrakt". Arguably best of all, though, is the shimmering "80s Mix" of "Diagram 7", which recasts the track as a melodic chunk of funk-fuelled electro.
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: 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: You'd be forgiven for being unfamiliar with the work of short-lived San Francisco band Dub Oven. After all, they only released one 12" single way back in 1983, and that was a self-released, private-press affair. Happily, the dusty-fingered diggers behind Music From Memory are big fans and here offer up a re-mastered reissue. Amazingly, each of the three tracks explores different sonic territory. Contrast, for example, the Tom Tom Club-goes-synth-funk eccentricity of lead cut "Skin 'n' Bones" and "Dub Oven", a thrillingly spaced-out chunk of no-wave/electro fusion that sounds like it could have been beamed down from another universe. Then there's closer "Millions of Sensations", which sits somewhere between Japanese new wave ambience and the post-punk funk of Bristolian outfits The Pop Group and Maximum Joy.