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: 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: 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: 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: 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: 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: Hands up who gets the vintage sci-fi reference in Trevor Jackson's latest production alias? For the non-nerds amongst us, Dark There Were & Golden-Eyed is the name of both a legendary short story by Ray Bradbury and a famous London sci-fi bookshop of the 1970s. Musically, the three tracks Jackson has served up this time round tend towards the stripped-back and synthesizer-heavy. They were apparently recorded between 2010 and 2014 using a minimalist set-up of handpicked pieces of analogue gear. While the B-side contains a couple of formidably dark, odd and curious, soundtrack style excursions, it's the epic A-side, "Design Your Dreams" - a fluid, loved-up and hypnotic blend of Terry Riley style cyclical synthesizer motifs and subtle percussion - that stands out.
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: 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: 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: 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: 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: 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.