Review: Veteran Swiss producer (and Character label boss) Sam Geiser aka Deetron makes his debut on Running Back, serving up yet more of his idiosyncratic hi-tech soul explorations. From the bass-driven disco muscle of "Body Electric" - all flanged rhythms and uplifting rave pianos galore, the pure euphoric energy of "T-Symmetry" and its unrepentant Motor City aesthetic, to epic B side cut "Txt" which channels the most emotive elements of Detroit's legacy. Comes complete with a "Beatless Version" - the kind of track you could imagine the likes of Derrick May or Laurent Garnier dropping in the middle of their set.
Review: We are proud to showcase more Bay Area family with the release of a new EP by Doc Sleep who cut her chops as a DJ in San Francisco's vibrant scene the past decade. In 2016 she made the move to Berlin and became a resident of Room 4 Resistance. Since 2013, she's been the co-owner of Jacktone Records, which specializes in techno, ambient, and experimental electronics. In 2016/2017 she released her first 12's on the Hot Mass-affiliated Detour Records and Bottom Forty. She also co-wrote a track with Bezier and Nicole Ginelli, titled "Stranger," that we released on the 'Primes' EP in 2017. Her latest release, 'Your Ruling Planet', was released on Jacktone in March 2019. We first heard "Creme Fraiche" on Doc's soundcloud page and begged to release it. The track has the feel-good vibes you get on early morning dancefloors as things are winding down or up. Paired on the A-side is the pulsating dark jam "Never Eating Again" that previously appeared on 'Run The Length Of Your Wildness V.2' and, like that compilation, proceeds from this track will be donated to Ghost Ship Fire victim Cherushii's family. On the B-side are two remixes from close friends of Doc. First up is a fresh breakbeat remix from Violet: DJ, producer, boss of Naive records, co-founder of Radio Quantica, and mina resident shaking up Lisbon's nightlife. Second is Berlin-based producer and fellow R4R resident, rRoxymore, who presents an innovative remix of future-facing techno and bass variations adding her own vocals on top. For this release we've teamed up with Jacktone to release a cassette version, our first in this format, featuring two peak-time bonus tracks. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy is housed in jacket designed by Eloise Leigh with neon pink and lavender gradients echo morning sunrises with a collage of dreamy elements using a photo by Doc of Club Toilet in Detroit.
Review: We are proud to present two new EPs from De Bons en Pierre, the duo of Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. His sonic vision is one which constantly straddles the line between wild experimentation and rhythmic compatibility, drawing influence from early concrete, 80's tape scene and Birmingham school techno. After working together on the 'Crepes' EP that we released in 2017, De Bons en Pierre reunited for a two day recording session in Brussels. The duo recorded 13 tracks that we've split across 2 EPs with 6 tracks on 'EP No. 1' and 7 tracks on 'EP No. 2'. Beau says, "We hooked everything up and just pushed play. We didn't really discuss much about the process....it was very 'spur of the moment'." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Each EP contains 25 minutes of dance floor perversions that tackle an array of rhythmic forms. Sludgy synths, serrated percussion and viscous distortion goops over leviathan rhythms. All songs are mastered by George Horn at Fantasy Studios in Berkeley. 'EP No. 1' is housed in a sewage green jacket featuring a monster mask duo and spiky motifs designed by Florent Mazzocchetti, and 'EP No. 2' is radioactive orange with a different pair of monster masks.
Review: Mike Dehnert's sublime output has been largely restricted to his own Fachwerk label over the last eight years, so it's surprisingly refreshing to see him branch out to other contemporary labels. His native Pampa imprint seems like the perfect place for his stripped-back shades of house music, and "How Close To Be", with its driving, fuzzed-out bassline makes for the perfect accompaniment to the tune's brooding vocal samples. On the B-side, "Me Too" is lo-fi in very sense of the word, once again dropping on a layer of eerie yet sentimental voices to take the track from odd to the utterly bizarre. In our eyes, that is a good thing...
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: 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: 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: 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: Ron Maney aka Dj Skull continues his very own series on RAWAX/ CHIWAX "The DJ Skull Saga" with the 4th part. This time its's the 1999 ground breaker called "The Internet Server 211" which originally came out on legendary Djax Up!
Review: In 2012, the Zenker brothers introduced a new series on their Ilian Tape imprint: The Bias Tapes. We are now into the third edition come 2018 and it's a great one, we must say. Like the name may suggest, The Munich Edition features some heroes of the local scene such as Kareem El Morr: who delivers the dark side electro bass of "Eros 404", likewise label boss Dario Z. (ft. Maurice P.) goes down the same toute on "CEJ". Elsewhere, dubby and cyclical warehouse techno in the vein of G-Man can be heard on Konrad Wehrmeister's "CWS" and usual suspects Marco & Stenny hammer the message home in typically bold fashion with the emotive "Imcon".
Review: You'll be hard pushed to find a producer as dedicated to his cause as Modularz boss Adrian Sandoval; instrumental in the development of LA's techno scene, Sandoval's tireless production ethic as Developer has seen him release over 30 records in the past six years so it feels like we are due an album from the man. Unsurprisingly, In Pure Form runs deep with tunnelling DJ tools with the full digital version of the album packing a rather impressive 25 tracks. This second of three 12" samplers for the album covers "In Pure Form" through tracks five to eight and does show that Sandoval can implement a lot of sonic diversity to the functional techno track.
Review: More dark, throbbing and unearthly antics from the Dynamic Reflection camp as they offer up a third collection of cuts from their expansive "Continuum" box set. Donato Dozzy and Mike Parker clearly got the memo, because their forthright opener "Patagotitan" is an alien club-jacker rich in razor-sharp, mind-altering electronics and hustling drum machine percussion. Abstract Division's "Dissonance" sounds like a dystopian, acid-fired tribute to Orbital's "Chime", while Deepbass and Ness' superb "Les Planes" is deep, atmospheric techno straight from the top drawer. As if that wasn't enough to get the juices flowing, Ben Buitendijk's "Vortex" is a perfectly pitched chunk of horror-techno hypnotism.
Review: US techno wizard Developer is back on his trusted Modularz imprint, this time alongside the lesser known DJ Surgeles, and the duo pack quite the punch with these five cold-hearted dance burners. Developer's "Infinite Numbers" opens on a bit of a cavernous tip, unleashing whole swarms of chilling bleeps over a stripped-back techno beat, and "Glimmer" ups the ante with yet more speed - and by that we mean velocity, not the powdered type! DJ Surgeles' "Hidden Places" opens the B-side with an echoing, hollow mass of drums and bass, while "Pulsating Orbs" bounces up and down with a distorted tone of voice, and "Out Of This World" steadies the ships by forming a thick, oozing layer of beatless ambience. A dish best served cold...
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: The good chaps over at Hardwax, Klockworks' own distribution network, are calling this a "perfectionist techno compilation" and, in their own words, it comes "warmly recommended". We agree with both of statements, and believe this to be a fine piece of work from the Ben Klock collective. Perhaps listeners won't hear anything drastically game-changing in here, but it is certainly all dance music of the highest calibre, from a collection of artists who have truly crafted a neat and elegant vision of techno music. On this double, the first in an upcoming series, there's a mixture of old and new faces all coming together to showcase the sound they've been so close to over the years; the wonderful Sterac makes an appearance with a refreshingly off-kilter blur of dub techno on "Lately", while Ben Klock himself comes through with the ice-cold bleeps of "Twenty", and the mighty DVS1 blasts out some penetrative percussion folds on "In The MIddle. Trevino rocks the boat with "Sombre Tones", whereas relative newcomers Etapp Kyle and Jon Hester turn in their own 5am bullets.
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: Dona's Plant Texture lays down more fresh produce in the form of the left-sided Italian beat selection. Dona takes the A-side with three versions; his RaveONine blend is a warped, woozy joint that tips a subversive nod towards to the trippier side of Detroit, his jungle mix lives up to its name with some classic breakwork while the Slow08 version takes us right into the middle of a gluey dancefloor, all slo-mo and sedative. Flip for three twists from fellow Italian Simoncinco; a wriggling acid groove, a thundering bleep-style dub and some rolling 909 drums for add creative mix pleasure. What a package. Ready for takeoff?
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: 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: 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.