Review: **REPRESS**The last time a newcomer graced Theo Parrish's Sound Signature, it resulted in widespread praise for the Flowers EP from London based producer, DJ and singer Andrew Ashong, somehow we get the feeling this latest release on the label will prove to be as memorable. The Scorpio Rising EP sees Parrish look much closer to home and grant the DC-born, Detroit-bred producer Jay Daniel his debut release and the four track 12" more than lives up to his billing as one of Boiler Room's most exciting new discoveries at DEMF. Wild Oats obsessives will probably know Daniel from the Fundamentals residency shared with Kyle Hall and he's clearly spent some time honing his Detroit influenced craft, with cuts like "No Love Lost" expertly balanced between melody and rugged drum grit. "Brainz" is the kind of no-nonsense DJ tool you might have heard on a FXHE B Side circa 2008 whilst "I Have No Name" demonstrates Daniel is eminently capable of the sort of hope inducing Utopian house from the D that the much missed Aaron Carl was renowned for.
Review: The undisputed godfather of Australian techno Cam Bianchetti aka DJ HMC has enjoyed a deserved second coming under his Late Nite Tuff Guy guise but this is where it all started with these two classics. First track "6AM" originally released in 1996 is a true mid-nineties zeitgeist that could have been spawned during an evening at the Packard plant in Detroit, but actually conceived in Adelaide. It's overdriven acid backed by the pounding kick and metallic hiss of a 909 just like Plus 8 Records were doing back in the day. What can be said about 'Marauder' that hasn't already? It's resurgence as a Berghain anthem in the last few years is well deserved. This rendition being a much more serious and restrained version than the 2001 version. Get your hands on this timeless piece of history.
Review: The low-key but long-serving D2B steps up on a self-manned label to deliver two surefire club smashers for those who appreciate the grit and soul of proper Detroit techno. "My Love" on the A side is the friendlier cut, its taut machine rhythms embellished with dextrous synth work from pulsing chords to simmering strings, all shot through with a smoky after hours haze. On the flip side, D2B gets a little rawer with the component parts of the track, jacking up the drums and spacing out the arrangement for a more intense workout that should satisfy anyone who wants techno with personality that still smacks hard.
Review: In the field of minimal house reissues, this is a big deal. Perlon main man Dimbiman doesn't appear on wax often, but when he does he makes it count. This early release on Baby Ford's seminal Pal SL was originally out in 1998, when minimal house was a vague concept at best on the most outer reaches of dance music. "Iso Grifo" itself remains a masterclass of spine-chilling space and perfectly strange sonic matter, while "Lava" pushes the notion of reduction dance music to its absolute limit. "Round" is an even more immersive affair that hides many subtle layers within its seemingly simple construct. Quite simply groundbreaking stuff, and highly sought after so don't sleep on it.
Review: In the face of all those Clone reissue compilations, Tresor are doing the right thing and digging into their own archive of seminal aquatic machine funk from Detroit electro legends Drexciya, and stepping up with the Hydro Doorways EP is the kind of power move that most labels can only dream of being able to make. From the cinematic drama of "Quantum Hydrodynamics" to the textbook boogie down synth abandon of "Polymono Plexusgel", not forgetting the heavy-on-the-one throwdown of "Lost Vessel" or the alien gurgles and peppy pace of "Species On The Pod", or the... oh you know the drill. This is timeless, essential business for anyone that takes electronic music seriously.
Review: Donato Dozzy has surely booked his place at the top of the techno game by now, thanks to an impressive catalogue spanning over ten years and an exquisite selection of labels. Although he has been focusing on his collaborative projects over the last few years - check Voices From The Lake in case you've been living under a rock - his solo productions are always an absolute pleasure. For his latest outing he lands on compatriot Carola Pisaturo's Claque Musique, a label that floats between house and techno at its own pace. The A-side, "Cassandra", is more laid-back compared to Dozzy's recent performances, its mid-tempo swagger gives the percussion and floating melodies enough space to mould into a skin-tight groove. "II" on the B-side is totally different, where Dozzy eliminates beats, basslines and sonics in favour of Asia-sounding didgeridoo's, all electronically treated and tripped out, of course. Recommended, particularly for those wishing to hear something new from the man.
Review: Although Clone's series of remastered Drexciya retrospectives are excellent, it's nice that Tresor have decided to reissue the majority of material the Detroit pair released through the Berlin label in its original format. This way you get the music in the manner Donald and Stinson originally intended. The four tracks on Digital Tsunami were drawn from the same recording sessions that resulted in the sublime Drexciyan document Harnessing The Storm and thankfully got pressed on an addendum 12" after not making the cut for the double LP. With Tresor having just reissued Harnessing The Storm it seems only fair Digital Tsunami should be granted the same treatment. Some 13 years after it's original release and all the music here still sounds like it was drawn from the future, with Donald and Stinson excelling at rapid fire bursts of abstract subaquatic electro, such as towering highlight "The Plankton Organisation".
Review: Since serving up one of last year's most memorable albums in the self titled LP for Prologue, Voices Of The Lake duo Donato Dozzy and Neel have tread carefully, contributing only a track to Mike Parker's Geophone series. They adopt a similar method with this release for Concrete that sees them drop one production which is complemented by a flipside remix. Very much remaining in the techno netherworld, "531 Hz" is a ranging cut made epic by a vast space opening up in the top register, with a synth that reaches skywards in a kind of desert-based incantation that's as uplifting as it is beguiling. Kab and Minilogue combine for the remix that switches up the ethnic mood for a far more machine-driven ride through aquatic tones and melodies; a veritable oasis of a foil to the dusty A-side.
Das Ding - "Life Is A Tool In The Hands Of Strangers" (4:04)
DJ Overdose - "I See No Stars At Night" (4:16)
DJ Overdose - "Potje Freaken" (4:55)
Review: The Go Finger label has been digging into the undergrowth of synthwave sounds and deviant electro for a few years now, more recently graduating from the tape scene to put out EPs of leftfield electronic adventures on wax. This EP in particular is quite something, calling on the vintage talents of Das Ding in all their eerie, warped, pulsing, analogue refinement. "Conun Drum" is a curiously playful trip through noirish cityscapes by way of strobing lead lines and militaristic machine beats, while "Life Is A Tool In The Hands Of Strangers" takes a more uptempo approach without losing the bombast of their melodic arrangements. Dutch electro champ DJ Overdose steps up for the B side, dropping the overcast and creeping "I See No Stars At Night" and the dishevelled robot beatdown "Potje Freaken".
Review: Helena Hauff's label is back, this time presenting a various artists 12" that heralds the start of the No Return series. The release starts on a mystical bent with the Eastern-tinged death electro of "El Carmel", sounding ripe for a Hague-friendly warm-up session. Neud Photo then take over with a dystopian trip through rich synth tones coloured in dark hues for the bleakest of robotic fantasies. Antoni Maiovvi fills the B-side with the slow grinding bombast of "The Dig", bleeding out a noirish take on coldwave for the darkest hearts to swoon to.
Review: Man of the moment Dax J is back with more doom laden and treacherous techno. The Monnom Black head honcho is this time launching The Invisible Man EP at us. Featuring on the A side we've got "The Wonk" but there's no Life & Death style melodies on this one: that stuff could only wish to be as fierce as this peak time adrenalizer. The title track is a rough acid techno stomper reminiscent of something on his last Shades Of Black album. On the flip "Wir Leben Fur Die Nacht" reminds us that yes he lives in Berlin, he most likely passed his Deutsch A1 class and indeed we do all live for the night etc but this sounds more like Sunday mass at Berghain: an industrial strength menace that is absolutely ferocious! A surprise addition is the dark and immersive ambient journey "Surrender" featuring Cat Yen's curious Chinese dialogue drenched in delay.
Review: Ben Sims reignites his dormant Symbolism imprint for 2015. Last active in 2006, Symbolism is about music with real mood and will continue to impart Sims' vision of techno through releases from newcomers and established acts alike. The first release comes from D_Func and includes an edit from Sims himself.
Review: The latest audio missive from the My Own Jupiter camp brings together debutant Nicholas Lutz (here using the previously unused Draculas Lutz alias) and former CABARET Recordings producer Omar Chibarro. They pair begins proceedings with arresting A-side "Instrumento", a bold, bass-heavy and angular electro jam packed with mind-altering acid lines and shimmering, deep space motifs. They change tack on the flipside, accompanying snappy, organ-laced NYC garage bumper "Tschuss" with the hybrid acid-jack/spacey house bluster of quality closer "Gerogliftko". While stylistically varied, the EP's three tracks are united by an attractive looseness that only emphasizes the thrillingly wayward nature of the duo's otherworldly electronics.
Review: Drumcode dropped its first A-Sides compilation five years ago. The series has been such a success that they're already up to volume six. The first part of the vinyl edition (there are four in total) naturally features some notable contributions. We're particularly enjoying the full-throttle acid techno assault that is Amelie Lens' brain-melting "In Silence", though Dense & Pika's similarly intense, noise-laden slammer "Just a Beat" pushes it close. Elsewhere, Marco Faraone impresses with the slightly deeper and more intoxicating "Desert Crash" - think cascading late night synth melodies and bassbin-bothering bottom end - while Ambivalent's "Portmanteau" brilliantly wraps early psychedelic trance and ambient techno electronics around a bombastic rhythm track.
Review: The Jaunt Records 10 years series shores up with the Land installment featuring another four adventurous souls that have the spirit of deepest techno in their bones. Stojche lets lush Motor City synths lead the way on the energetic "The Exchange" before AWOL gets into an intricate broken beat groove on the stunning "54.973379, -1.614705". Luke Hess brings some unabashed acid gurgles to the front of the mix on "TDY" and then Deep'a & Biri plot a course for dubby waters with the growling tones of "Pilgrim".
Obsolete Music Technology - "High Top Fade" (6:32)
Specter - "Butters Whipped" (6:02)
Isoke - "Soul Glo" (3:10)
Damon Lamar - "Bermuda Triangle" (7:02)
Chicago Skyway - "Edged Out" (6:04)
Review: Perpetual Rhythms is already well-regarded as a bastion of quality amongst contemporary Chicago house labels, and now they've downright sealed the deal with this mammoth compilation from a stellar cast of local cats. There's too many to all list in detail here, so focusing on the highlights, Dcee leads things in with the tumbling cosmic jazz leanings of "Suavecito," Hakim Murphy teases with a spacious and daring exploration in the liminal zone between ambient and house, and Obsolete Music Technology gets invigorating with the bouncy "High Top Fade." Those tracks alone are enough to deserve your hard earned, but there's reams of other excellent forward-facing Windy City jams to sink your teeth into.
Review: Quite how they never linked up before is hard to surmise, but finally UK techno veteran Kirk Degiorgio and UK techno institution Ferox come together to present a killer new EP that draws on the respective legacies of label and artist while presenting something new in the process. "I Have Seen Them In A Dream" is a bubbling, soulful cut that fuses acid lines with stately chord progressions, while "Blind To Revelation" takes a deeper turn into dubbed out percussion and nocturnal melodics. "Beholden" takes a slower, house-inflected turn into blissful pads and strings and then "The Infinite Tether" plots a course spacewards with some refined techno for the astrally-minded.
Review: Sect Records' recent compilation It's All For You showcased the exceptionally high standard of the label's roster as well as introducing some talent to the world, and this, the first 12" sampler from the album, selects three of the compilation's finest tracks for vinyl treatment. Victor Martinez takes over the A-Side with "Dav To Dub", combining heavily delayed chords filtered to breaking point, while a massive kick drum propels everything along, and a jazzy piano melody adds some subtle ambience. On the flip, D'Knox's "I'm Sorry (remix)", is a sparse number contrasting soothing chords with micro-loops which contain the spectre of disco, with a rapid rhythmic flutter and chittering melody at its core, while Fanon Flowers closes with "Invisible Life", a murky production filled with chords that ripple like sheet metal over a flurry of 909 rimshots.
Review: P-Balans continues to shed light on the more unusual underbelly of the Romanian scene, taking a few cues from the dominant minimal scene but adding plenty of analogue weirdness into the mix to provide a genuine alternative for those who like a little more spice in their sauce. On this release Khidja and Delusion Men team up for some off-kilter trips into subversive danceability, starting with the subtle, wavey acid of "Strayed" before cartwheeling into the spooky delights of "Recurrent Weakness". The ghoulish theme gets ramped up to 11 on "Ghost Caravan", where a deathly slow beat carries all kinds of undead synth work, and then Borusiade takes "Recurrent Weakness" to task with a pinging, plunging remix for the end of days.
Review: Damon Wild dons his Mistaken Identity guise for the latest 12" on his resurgent Synewave label, and it finds the US techno maestro burrowing into the deeper realms of his sound to create a truly hypnotic kind of boss-level techno. "Mindset" is all low-end pulse that will feel incredible hitting your bones from a proper system, while "Varity" takes a lighter approach that focuses on the upper frequencies. "Scalene" gets lost in an endless loop with a soupcon of disco woven in, and "Backdoor" has a metallic, dubbed out central hook that sounds perfect reverberating over the stern, stripped back rhythms.
Review: If the smiley face clad centre label wasn't a sizeable enough clue, Happy Family is a new project from New York staples Eric Duncan and Justin Vandervolgen which sees the pair try their hand at acid house. Both are closely associated with disco edits of course, but if you've seen either DJ you'll know they are well up on all forms of dance music. This expertise is deployed perfectly on the two tracks here, with "Burnt" a relentless exercise in strobelit 303 madness that is a no brainer for the sweatiest part of a DJ set. They tone it down a bit on "Hard To Breathe" which despite the title is an altogether looser production with plenty of room between the tumbling drums and hypnotic lead synth lines.
Review: First volume of house tracks picked from the Velocet catalogue, Nail's previous label, which he ran very badly between 1995 and 1997. Most of the unsold, OG copies now lay in his ex-wife's cellar, covered in mushrooms.
300 on clear vinyl, no repress.
Review: Hailing from Hong Kong and more commonly found recording as S.Y., this release is the first music the producer has put out as Dopamine Rider, and it's certainly a record that thrives on unpredictable rushes of chemicals to the brain, making it a perfect fit on Discos Capablanca. "$ LFO" sports a techno framework of sorts, but it's really a vessel for strange ripples of FX and one-shot tones, but then "Personal FX" ramps up the freakiness with some atonal machine whirring that sounds like it's been wrenched from an errant modular system. "John Cage Is My Homeboy" is positively delicate in comparison, but it's by no means straight laced, and "Sai Ying Pun" finishes this adventurous EP off with a strange drum track that adds a little spice to the DJ tool format.
Review: Delivery is the work of Greg Shin, who has previously appeared on LA Club Resource and Smashing Tape Records. Now he appears on Torn Hawk's Valcron Video with a wonderfully diverse set of leftfield machine workouts, kicking off with the tempestuous drum twitches of "Brain Drained". "Technology Transplant" is a polar opposite, focusing on calm drifts of ambient synth with a mournful tinge. The B2 is worth digging for, as "Four Two Nine" seems to balance the two other tracks and make for the most club-ready piece on the 12".
Review: DJ Octopus begins 2015 as he finished 2014, with a typically forthright selection of late night jams that join the dots between vintage deep house, acid, European techno and the analogue style jack tracks of Willie Burns and the L.I.E.S crew. There's a particularly day-glow feel about deep house opener "Untitled", which features looped organ riffs and energy-packed drum machine rhythms. "The Player" switches things up nicely thanks to some brilliant, cut-up slap bass antics, while "Ghost Antics" sounds like the sort of early British acid track that was found lying around on a dusty DAT. Finally, "Purple Pills" invited you to drop illicit refreshments and lose yourself in a brightly coloured fusion of rave chords, bounding beats and clandestine textures.
Review: To the casual observer it might seem like we are approaching 'Donatoverload' with numerous Dozzy related projects released recently. Look a bit closer though, and it's either been reissues (like the Aquaplano Sessions) collaborations with Tin Man and Neel or extensive remix packages like Plays Bee Mask. There has been little actual solo Dozzy material since a 2011 release for the Acid Test series, so this release for Lucy's Stroboscopic Artefacts label is most welcome! Translating roughly as "Third Day", the four track Terzo Giorno 12" is typical Dozzy with a fine sense of textural dexterity evident on "Il Canto Della Maga (part 2)" and the title track. The addition of Dozzy makes perfect sense for Stroboscopic Artefacts within the context of their recent releases from Lakker, Rrose and Chevel which have provided the label with a renewed juncture to the dancefloor.
Review: Reissue anthem alert!! Another Day drop DJ Bone's early material from Metroplex back onto vinyl with this tasty reincarnation of the 1999 juggernaut. When this badboy first came out, no one was doing percussion the same way as Bone, with tunes like "Shut The Lites Off" capable of destroying any dance floor with its sublime balance of harmonies and hard beats. "The Funk" offered new and curious shades of electro madness to the scene - a cocktail which still sounds fresh now - and "The Haunting" smashes out the funky techno for warehouse use.
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: Senida, Strobelight's second release, is a reprisal by the well seasoned and acclaimed producer Ruxpin under the alias Den Nard Husher and is his first ep under the alias since his 1999 2x12 "Nard's Groove" on Thule. The diverse selections of this ep are thunderous yet warm and emotive and illustrate the styles on the NY based label Strobelight Network.
Review: It's hard to find fault with anything by Detroit stalwart DJ Stingray. The Motor City veteran rarely puts a foot wrong, regardless of whether he's focusing on futurist techno or blistering, Drexciya-influenced electro. This EP for Lower Parts delivers the best of both worlds. On one hand, you have the stargazing bounce, undulating bassline, and shuffling 4/4 rhythms of "eRbB4" (also impressively remixed in an alien, Rotterdam electro style by Kon001), and the driving techno intensity of "Acetylocholine". On the other, there's "Denddrite", a ghetto-tech and footwork inspired electro blast that contrasts hissing rhythms with yearning, stretched-out chords.
Review: The sheer volume of New York maverick DJ Spider's back catalogue is as intimidating as the picture of the man himself holding a machete in the studio, but it's a rich and unpredictable treasure trove of leftfield techno. He makes an appearance on Thema with a record typically diverse in its make up. The opening track "Throwing Hairs" is a masterful trip through atmospheric, organic soundscapes with submerged ecosystems of sound rippling around deathly simple kick n hi hat pattern. His own rework of "Extropy" features similar smudged textures underneath, but the sweet nature of the chords makes for a killer foil to the murk. "The Final Revolution" gets into a tougher frame of mind, placing plenty of emphasis on the low end and letting fly with some seriously dishevelled percussion. "Distress Signal" is oppressive in its sense of desolation, all icy winds blowing into a kick propelled nothingness.
Review: REPRESS: The second release from the Hlanganani label lives up to it's MO to provide a platform for talented producers from South Africa to shine, focusing here on Deep Sixty, aka young and fast-rising producer Johannesburg producer Thabiso Mamogwa. Back in 2010, the producer made it to London to take part in the Red Bull Music Academy, which is when the HLANG team first heard the tracks that make up the Mme Hayo EP whilst some studio time on the same trip with Todd 'Soundmurderer' Osborn resulted in the "Thursday Nights" track which Mamogwa previously self-released. In addition to Deep Sixty's own 'Deep Terror' mix of "Mme Hayo", the label have coaxed some fine remixes out of Esa and William Kouam Djoko.
Review: After their first seismic collaboration back in 2016, DJ Bone and Deetron are back in action as The Storytellers and they've got six new mixes of impeccable techno for you to sink your teeth into. "That D Beat" comes first - a brittle, rasping monster of a track with frantic urgency and experimentation in equal measure, which then gets softened out a touch with the human elements that feed into the "Camouflaged" version. Deetron's standalone mix of "That D Beat" is a wholly different proposition made of deep, dubby synth expressions without losing the rhythmic energy of the original. "Blue Bird" is a gorgeous slice of machine soul that reaches for the stratosphere, only to take on a kind of bombastic heft when tweaked for the "Filtered" version. Then Bone does a powerful finishing move on "Blue Bird" that matches the strong melodic strokes of the track with his own uncompromising artistic signature - a match made in techno heaven.
Review: "Abyssopelagic" is the third release on Tresor Berlin resident Marcel Heeses label Finitude Music. This time he teamed up with d_func. aka legendary Berlin producer Alexander Kowalski who has been around for almost 20 years and surely needs no further introduction. The title track is a slow piece of nautical Techno aiming at the bigger floors. As the title suggests the B-Side includes a stripped-down version of "Abyssopelagic" for the deeper moments on the floor.
Review: Pampa offshoot Hart & Tief launched earlier in the year, via a split 12" featuring tracks by Soulphiction and Mike Denhert. This time round, fellow German producers DJ Koze and Robag Wruhme are at the controls. Koze kicks things off with "Driven", a clanking, booty-shaking fusion of metallic percussion hits, resonating electronics, dub techno motifs, and minimalist textures. It feels a little like a contemporary Berlin take on early '90s Sheffield "clonk" (think Sweet Exorcist's Clonk's Coming album on Warp), which is no bad thing in our book. Wruhme's "X-mop 198" is a much more straightforward, early morning techno bubbler, albeit with similarly clanking percussion hits amongst the thumping kick drums and restless, one-note riffs.
Review: The latest Crimes Of The Future comes from Dimitri Distant and LVRIN, two emergent artists with a penchant for pitch black grooves steeped in the kind of acidic, wavey styles that COTF are consistently striking gold with. "Blasphemy" is a powerful slice of reductionist acid that uses a bare minimum of elements to create a sinister atmosphere to strike fear into the hearts of unwitting dancers. "Dead Sunday" is no slouch in the creepy department either, its clattering beats and bubbly acid line straining against a tape-stretched backdrop of synthesizer malaise. "Achromatic" switches stance to slow, undead electro soaked in embalming fluid and filtered through a B-movie veil for maximum guttural impact.
Review: From the minds of Direct Beat and Detroit Bass Classics, comes the first initial compilation of electro/techno heat. "Electro In The Key Of Detroit Vol 1" presents 4 proven dance floor dope and record crate staples that provide the hungry ears of masses the groove to move. A Side features two sure-fire steppers - a rare AUX 88 voyage entitled "Phantom Power" and Blak Tony's tempo-pushing "Holla Holla" finally see the light of day on this wax collectable, giving praise to Motor City footwork culture. On the flip, DJ K-1's "Erase The Time" rocked the airwaves and global clubs with its signature thumping style laced beneath alien-like melody and repetitive vocal structure while Posatronix's mutant-rhythm mantra, "Pure Techno Sound" pulls the weight of Detroit's street dance roots down to the origin of how to boogie in space. This collection of re-issued jams and new explorations is the must-have for the electro/techno & bass aficionado.
Review: It's been a little while since we last heard from Donnell Knox, but he's back in action finally on his regular haunt Sonic Mind with some of that evergreen US techno tackle that he's forged a long and winding career out of. "No Time" is steeped in the smoky pads of the Motor City, with a rugged rhythm section and errant bleeps thrown in to seal the deal. "Rat Race" takes things in a more housey direction, but there's still a certain mysticism that reaches beyond the average club banger. "Sick Mind" continues the theme, but ties more knots in the programming to make for another essential slice of techno, and then "Repetition" finishes the job with a razor sharp slice of sky-scraping hardware science.
Review: Alexander Kowalski has been immersed in techno for a long time, and his sound is massively representative of the reduced, late night Berlin sound. As d_func. he's contributed many times to Marcel Heese's Finitude label, and now he's back to pay tribute to UK free party techno legends Spiral Tribe. Kowalski's own interpretation may be more minimal and hypnotic than the wild, raucous energy Spiral Tribe was best known for, but his trancey approach comes on like a nostalgic vision into the early 90s, while also aligning with the modern masters such as Donato Dozzy and Peter Van Hoesen.
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: Cong Burn continues to exercise one of the most promising instincts for future-minded music on this, their third release. It's surprising they haven't done more previously, considering the maturity of their curation, but either way the quality remains at an all time high here, leading in with some light and liquefied 4/4 sonics from Chekov before pirouetting into one of Duckett's illustrious abstractions around the techno blueprint. Label regular Lack is back on side B with the stern and punchy "Track 3," and then Haddon finishes the record off with "Anabiosis," a densely textured, slow creeping trip of a track.
Review: Tony Rodriguez has many strings to his bow already as Brothers' Vibe and the head of Mixx Records, and now he's embarking on a new venture in the shape of the Toad Red label. Focused on a harder-edged sound than the deep house he's normally associated with, Rodriguez has invited Esther Duijn and youANDme to join in the fun with some finely crafted techno for open-minded dancefloors. Meanwhile there's an original BV jam in the shape of "Dee's Drama", while Rodriguez also unveils a new modular-focused alias named Silent Rodgerz. It's a new chapter for the New Jersey mainstay, and it promises exciting things to come in the future.
Review: The East Coast's house don DJ Jus-Ed is, as always, on an unstoppable run of form. His latest bundle of club-friendly tunes comes on his own Underground Quality, of course, and it's four tracks from the man himself - preaching the gospel like only he knows how! Starting with "Acid Fro", the mood is darker and more hypnotic than his usual approach - this is a proper belter in every sense of the word - while "Ice 597 To Frankfurt" is more minimal, wavey and utterly pouncing. Flip the record and you got the melancholic melodica of "Katzback Gruv", another stomping club affair for the earlier set times, and "Train Ride To Berlin", a jittery, percussion-driven bit of neo-tribalism. Hot, as always. Don't miss this!