Suchergebnisse: Dance Music

Review: Acid Waxa take a break from carrying Roy's mind-warping rave gear to bring you the deep donking, hardstyle hype-up of 'The Kingdom Of Scotland' by Romeo Taylor. You may have already heard the track bouncing around the odd mix or two for those with a penchant for full-fat hard dance with a wry comedic edge. On one hand it's a patriotic pelter, on the other it's a neo-rave laff which will comfortably lodge itself in your brain, more than ably backed up by some more wayward ravey gags and headsy gear (watch out for the simmering, heads-down wave-splashed techno of 'Keep Him On The Line'. Roy Of The Ravers is on hand to deliver a more direct remix of 'The Kingdom Of Scotland' on the B side which blows the original out into a wigged out, spooked up acid gurgler. oot!

Review: With an extensive legacy and a list of alter egos longer than your arm, Martin Damm aka Biochip C achieves a delicate balancing act on this 11 year old record, a handful of extras copies of which were recently unearthed in what can only be described as a highly fortunate 'warehouse find'. He pulls off a delicate balancing act here, letting the abrasive, industrial punk rock side of his music off the leash to frolic unhindered, while never losing sight of the needs of dancefloor and its needs across the six tracks. Highlights? Well, the title track's speedy electrofunk is highly addictive, 'Eraser' has a driving, chunky techno edge that fans of Force Inc will love, while the double dub speed grooves of 'Knobgine' and 'Liquid Silence' are forces of nature in themselves.

Review: Original live techno duo, System 7 stamp their mark on the dancefloor once again with their new single on A Wave, 'Space Bird', lifted
from their forthcoming album, 'Phoenix', which opens the label's musical account in 2008. Just starting to escape on promo, this buzzing
atmospheric instrumental sees System 7 push the envelope for a minimal sound that embraces trance in truly hypnotic dancefloor style.
'Space Bird' is the first of the two Jam El Mar collaborations on the new album, and straight out the trap is man of the moment, Dubfire's
excellent minimal trance and brooding tech house remix. Liquid Soul toughens it up with a charged, stripped-down affair that rocks the floor,
fuelled by spacey loops; and rounding off is the original version. Its chunky beats underpin the seductive musical loops building into a
full-on floorfiller that's about to start ripping up floors in Europe.
System 7 continue to defy constraints of the 'trend' side of the music scene, having appeared live at a large number of festivals this year.
Highlights include playing twice at Tokyo's Nagisa Festival, this year with Derrick May and Joaquin Joe Claussell; another mighty appearance
at the Glastonbury Festival West Dance Tent in June with A Guy Called Gerald & Trentemoller; the Main Stage at the Glade Festival with
Longrange, Digitalism & Richie Hawtin; as well as Italy's Sonica festival, Harmonia Festival in Spain and Devon's Waveform event with
Eat Static & Banco De Gaia.

Review: Following on from last year's impressive Redlight debut, Scott Hess is back on his Adeen label with another selection of warm and inventive house cuts splashed with colour and analogue wobbles precision-engineered to catch your ear. Lead track 'Sirius City' leans on a harmonically rich lead line and plenty of off-kilter wriggles to appeal to those who want some cheekiness in their tunes. 'UFO' sports a tasteful acid tweak running in between plush pads and snappy drums, while 'Call Me, Acid' plays around with telephone tropes to make a bleepy jam that will have the ID requests flying in. 'Stars' offers something sweeter to complete the set, spacing out the beats to leave the synths plenty of room to cavort around a celestial name-checking session for deep house dreamers.

Review: Earlier this year Buchla synth expert and sometime Nine Inch Nails band member Alessandro Cortini delivered one of the most surprising and rewarding long players of 2014 in Sonno for Dominick Fernow's Hospital Productions. The Italian pulls off another surprise move with a new project called Skarn on Shifted's Avian label, swerving from the majestic textures of Sonno into droning techno experimentation. Some three tracks long, Revolver finds Cortini toying with droning tones with the title cut a superb exercise in slowly building up a wall of oppressive, brutalist wave of noise over minimal beats. With material due on Panzerkreuz too, it's clear Cortini is currently enjoying an unpredictable chapter in a long and illustrious recording career.

Review: WAREHOUSE FIND!: OZY is an electronic musician and dj from Reykjavik. In the early years of his career, OZY released a series of influential records on the Icelandic dub techno label Thule Records, paying homage to the Berlin dub sounds and the abstract shuffle rhythms of Cologne techno. In 2002, the legendary Force Inc./Mille Plateaux label released OZY's debut album Tokei, bringing Ozy to the attention of a wide international audience. Orignialy released in 2000 The release "No Undo" is yet another step further, in fusing techno with new and fresh elements of drum&bass music, making the music incredibly dark and funky. The outcome is a wicked concept of futuristic tribal techno, designed strictly for the dancefloor:

Review: My Own Mirror To Stay is a brand new and first-ever compilation from the Sure Thing label. It finds them carefully curating six new artists and welcome them to the family, each with their own personal reflections of the dance floor. Lukas Urban kicks off with supple, seductive and stripped back techno while Soreab layers up prickly percussive layers and Sanguine sinks you into a dream state with his lush ambient pads and skeletal rhythms. The flip side features three more elegantly designed and meticulous bits of techno sound sculpture. The always exceptional Neel has mastered this one too.

Review: Club Night Club is a new Brooklyn label born out of an event series, and they're positioning themselves squarely in the leftfield of the contemporary techno scene with a wild EP from the lesser-spotted Herron. The Manchester-based artist has slipped out a few scattered releases over the past six years, from EPs on the meandyou label he helps run, and one big drop for Peder Mannerfelt's label. This fierce return to the fray shows the producer pushing a tough yet supple strain of mutant, stepped techno with soundsystem blood pumping in its veins. It's ludicrously high-end, swimming in needlepoint sound design and yet still rough as hell, and it comes very highly recommended.

Review: Since its emergence in 2011, Shifted and Ventress's Avian and Mira labels have become outlets for like-minded producers to express themselves in different creative manners, some choosing to work anonymously (Bleaching Agent) and others not (Burma Camp, 440PPM). A Vision Of Love falls in the former category, with the producer surfacing on Avian earlier this year with the first in a series of a series of self-styled "S & M techno tools" under the banner of Lessons In Hate. With the true identity of A Vision Of Love still very much under wraps, Part Two of the Lessons In Hate series now arrives with chiselled techno drums traversing squalling, savagely equalised electronics crafted using vintage gear and driven by a passion for classic second wave Detroit techno, whilst further alluding to A Vision Of Love's basic themes of S&M.

Review: The second release on Lempuyang comes courtesy of Tomoki Tsukamoto. In the late 90s Tomoki put out releases on Gez Varley's G Records, i220, and of course ran his own Metrojuice Records imprint; putting out some of the most sought-after deep & dubby techno records under his alias W-Moon. After a hiatus of over 20 years he now returns with four new tracks under his own name, still retaining that deep signature sound.