Review: Three years on from his last full-length outing on Perlon, Japanese techno maverick Fumiya Tanaka returns to the admirable Japanese imprint with an eccentric set bristling with off-kilter dancefloor treats. His particular take on minimal techno is far more rubbery, synthesizer-rich and funky than many of his peers, a trait that makes his glitchy but elastic club cuts stand out from the crowd. Highlights across the three slabs of wax include the bleeping, dub-wise peak-time weirdness of the title track, the sub-heavy jazz/minimal techno fusion of "Breakthrough", the Villalobos-gone-wild flex of "I Want To Be A Human Being" and the squelchy, loose-limbed goodness of "Birth Of The Respect Club".
Review: Last time round for Finale, it was label boss Michael Zucker offering some rare insight into his prowess behind the buttons. Here Zucker adopts the more familiar curatorial role, easing the Finale focus towards the new generation of Parisian artists prospering in the French capital. Ka One & St-Sene oversee the prospering Flyance Records and arrive on Finale with the French Connection 12" after a recent turn out on London's Ornate Music. The four tracks suggest Ka One & St Sene are developing into a truly diverse production unit, with the crisp Motor City Utopia of "Smokin' Joint" a particular highlight.
Review: It's not often that you get to see Alan Oldham stepping out under his own name. The legendary Detroit artist is more commonly spotted as DJ T-1000 (or designing iconic artwork for techno labels) but this time around he's sharing some more house-minded delights for Finale Sessions. "Don't Take Me" is a haunting, mystical slice of deep house that fits into the Finale narrative perfectly, while "Wild" too offers up a distinctive approach that manages to be both refined and yet imbued with that Detroit roughness. "Breathe" may well be the best jam on the record, dealing in subtle threads of melody that conjure up the perfect dubby 4/4 confection.
Steve O'Sullivan & Yossi Amoyal - "Singularity" (10:05)
Eric Miller - "From A Distance" (7:58)
Bluetrain - "Read My Mind" (9:08)
Monoaware - "Hanami" (6:04)
Delano Smith - "Without Reason" (part 1) (7:36)
Delano Smith - "Without Reason" (part 2) (7:30)
Leonel Castillo - "Stealer" (7:30)
XDB - "Frost" (6:15)
Thor/Sanasol - "All Sides Will Be Lost" (8:56)
The Wise Caucasian - "Agent Orange" (6:13)
Ryan Elliott - "P's Keys"
Tobias - "Styles 2"
Efdemin - "Flight"
Monoaware - "G-Train To Shibuya" (7:31)
Fluxion - "Overcast"
Paul St Hilaire & Rhauder - "Not Saying Much"
Review: Sushitech's second chapter of their Tessera compilations has been in the making for over two years. It's not hard to understand why, however. This monstrous 5 disc release is riddled with techno killers of the highest calibre, from start to finish. We knew that these guys were reliable purveyors of fine electronic dance music, but this is a truly impressive showcase, and surely up there with the likes of Ostgut Ton. In fact, this compilation goes even beyond the immediate techno remit. It's difficult to pick out the highlights here; everything is solid, and even the opening dub echoes of "Prelude" is enough to get us salivating. There's a rare appearance on the dubbed-out deep house of "Skank" featuring Rhauder, Steve O'Sullivan makes a sleek appearance, Delano Smith offers two magnetic pieces of Detroit magic, XDB's "Frost" is nothing short of spectacular, and even Efdemin's glitchy, minimalist deep house seems more poignant than usual. This is a big'un - don't miss it.
Review: History _ its evident that Developer has been unstoppable over that last decade, but it's been an even longer time ago that Developer got his start as a DJ back in 1992 where he started djing in the backyard party scene then moving to a residency on 88.7fm Radio then eventually becoming a fixture in the Los Angeles underground warehouse scene playing alongside many of the worlds techno elite and organizing events throughout the 90s into the 2000s. In 2009 Developer retired from events and then converted Modularz from event organizer group to a techno label and began releasing his own music eventually making his way into europe and onto the world. The Album _ Sangre Por Oro, which translates to Blood for Gold, is a full-bodied album, with each track highlighting the different complexities of where techno can go and take you. The whole-room experience that he creates through his tracks high- lights his ability to unify techno lovers, all under one roof.
- Pullproxy Germany
Review: A very effective collection of new works by Staffan who has previously released on great labels such as Field, Stockholm Limited, Chronicle and many others. In this special extended release titled "Every choice never made" it shows a great variety of Sci-Fi influenced, rhythmic and dramatic cuts that will sound great in any club or warehouse. Many of the early reviews by djs around the globe say that the release is some of Staffans best work we hope you enjoy this as well. 5/5 TIP
Review: Many happy returns to Bradley Zero's Rhythm Section International label, which this month notches up five years in the game. To celebrate, he's releasing a celebratory compilation and two sampler EPs. This first 12" begins with some inspired broken beat/Nu Groove style deep house fusion from the ever-impressive Yu Su, before moving through ghostly techno (the fizzing beats and yearning chords of Katerina's "Bird People") and manic, metallic and industrial-tinged dancefloor madness courtesy of Lock Eyes ("Inner Conspiracy"). Valesuchi offers up the dense industrial/tribal fusion of "30" - all heavy Test Department beats and woozy electronic noises, while "Dawit" invites us to the glassy eyed, futurist deep house paradise that is "Level 7".
Review: Motor City techno legend Jeff Mills founded the American-Japanese tech-jazz/jazz-funk group Spiral Deluxe as a live outfit four years ago, but they've only just got round to recording a debut album. It's rather special, all told, with each of the four original tracks being laid down in one take at Faber Studios in Paris. Consequently, there's a pleasingly fluid feel throughout, with epic opener "E-MC2" - all virtuoso piano solos, freaky jazz-funk electric bass and bumpin' beats - arguably offering the best representation of their sound. You'll find some fine techno/jazz-funk fusion on the slap-bass-propelled title track, while "Let It Go", featuring the mesmerizing vocals of Tanya Michelle, sounds like an end-of-night classic in waiting. Mills old pal Terrence Parker gives his interpretation of that track on side four, re-imagining the delicate and poignant original version as an organ-heavy slab of gospel house brilliance.
A Gargantuan Melting Face Floating Effortlessly Through The Stratosphere (4:58)
Review: Paul Woolford has spent a good chunk of his downtime over the last year or two making Special Request tracks in his pants. So much so, in fact, that he's created enough material to fill four albums, all of which will be released this year. "Vortex" is the first and is, in Woolford's own words, high on "bangers" and low on "conceptual guff". In practice, that means lots of gut-busting low-end frequencies, trippy analogue electronics, razor-sharp rave-style riffs and bustling rhythms that variously touch on electro, early '90s progressive house, breakbeat hardcore, slamming Joey Beltram style techno (see album highlight "Fahrenheit 451") and metallic, delightfully mangled drum and bass ("Fett", whose wonky electronic undulations hark back to early Woolford classic "Erotic Discourse").
Review: Amato brings the kind of nasty electro business that fits right in on Helena Hauff's mighty Return To Disorder stable, and you know it's serious from the opening strains of the VHS noir monster "Escape From Grenoble 2018". "Hydraulic Funk" takes things slower, coming on like a freaky Frak flipside and sounding excellent for it. "Machine Outil" takes things in a more muscular direction that sounds built for bench presses and body jerks - the consummate peak time sledgehammer. Umwelt takes this sturdy starting point and demolishes it into a hailstorm of acid malevolence that'll melt your face clean off.
Review: Helena Hauff's Return To Disorder label plunges once more into the grimy underworld of electro and wave music, this time guided by dungeon dweller Morah who debuted on the label in 2015 and has since gone on to great things via Lux Rec, Berceuse Heroique, brokntoys and more. "I Saw, Strained Her Eyes Peering Into The Gloom" is a bittersweet dance with distortion as disheveled as it is catchy, while "Dance When Lights Off" pushes even further into the red with scintillating results. "Against Your Beloved" sounds positively shimmering by comparison, even if on its own it's still a truly dirty slice of jacked up electro. "One Shade The Less, One Ray The More" is a strong closing bout that draws from a similar sound bank and applies it to a more techno-minded structure.
The Industry Of Dreams (Jeff Mills Commentary) (1:52)
Review: For those new to Jeff Mills' vast - and largely incredible - back catalogue, the Director's Cut series should be essential. Like its predecessors, this fourth volume gathers together various versions of killer cuts previously produced and released by the Motor City legend over the past two decades. Highlights include deep space techno workout "Deadly Rays (Of A Hot White Sun)", the densely layered African percussion, low slung bass and echoing organ stabs of "Gateway Of Zen (Percussion Mix)", the bleep-heavy electro/techno fusion of sweaty workout "999" and the alien-sounding, minor-key hypnotism of "The Industry Of Dreams". Each track is accompanied by a separate "audio commentary" from the man himself, which is ideal for those who love to hear artists talking about their work.
Review: Despite being one of the UK's most prolific electronic musicians, Jacob Martin AKA Hodge has never released a solo album. "Shadows In Blue" is therefore one of the most hotly anticipated debut full-lengths for some time. Appearing just under a decade after his first single, the set expands on his sub-heavy, club-centric blends of techno and bass and showcases a producer at the peak of his powers. There are a number of speaker-busting dancefloor workouts - see "Sense Inversion", the tropical techno creepiness of "Lanes" and the Lone-ish stomp of "Ghost of Akina (Rainbow Edition)" - but the most striking thing about the album is Martin's promotion of pastoral sounds, blissful melodies, picturesque new age soundscapes and trumpet-laden, dubbed-out ambient jazz (see closing cut "One Last Dance").
Review: Spanish techno titan Oscar Mulero leads from the front with his new label Warm Up, which deals in anything but early hours techno. Here he offers up four powerful tracks of heavy drum grooves that are designed to generate maximum destruction on the dance floor. "Transparent Ray" is a rooted groove with freewheeling synths riding up and down through the mix to hypnotic effect, while "Solarized" is all about punishing drum programming and expertly linear techno. "Opposite" offers something different - a more stripped back and reserved deep techno exploration with shady corners and suspenseful synths. Quite the start.
Review: This New Year, Jeff Mills is inviting us to look inward in the form of his Every Dog Has Its Day series. The last time we had an installment came 17 years ago, just enough time for a periodical cicada to emerge from theground, finished with its former life as a nymph. The sixth edition of this series is soon to follow in spring dressed in brown, continuing to deliver a spiritual and emotional raft for you to see that Every Dog Has Its Day. Mills himself has said, "You never figure out life, you just get used to it." Reflected in this record is that sentiment, that life doesn't present to you the answers because there are none. What is right and just for you, may not be for me, so how can I share with you any secrets. Electronic music can act as a guide, a catalyst of your headspace; it is not the map.
Review: A long and distinguished recording career for the always faithful Norm Talley has been lacking something Tsuba shapes until now, so kudos to Kev Griffiths for coaxing three drops of powerfully deep and danceable house from the Westside Detroiter. Each track here offers a different mood with A-side cut "Mid-Nite Madd-Ness" the peak time burner with classically Detroit house styled cymbal clashes cuing breakdowns, while vamping chords ascend and descend. "Holiday" is the warmer summer house jam with woozy Rhodes on loop, while "One Track Mind" is deep and rhythmic with a sultry vocal to boot.
Review: Qoso is a Paris-based producer who has previously released on In Paradisum and collaborated with Low Jack. The latter reference should give you a hint as what to expect from "Morning Routine", a four-track missive of experimental electronica and mutant techno that tends towards the fuzzy, clanking and otherworldly. There's much to enjoy, from the spaced-out Autechre-in-dub flex of "Sweatpants" and the quirky combination of twittering synth lines, post-electro beats and rumbling bass that is "Tabi Shoes", to the fizzing electronics and galloping machine beats of closing cut "Exfolio". Spacey, acid-fired opener "Cock-A-Doodle-Do", where military machine drum snares, foreboding bass and subtle acid lines catch the ear, is also pretty darn good.
Review: Domenico Torti is best known for his high profile remixes of Daft Punk, but this outing on Ed Banger finds him indulge in his first love: the sounds, colours and scenes of New York City in the 1980s. To help authenticate his quest, he enlists expert beat maker Afrika Bambaataa. Their single "Radar" is a wild disco ride with electro synth work and plenty of future retro motifs, from the vocoder vocals to the sounds of spacecrafts taking off. Deena Abdelwahed flips it into a heavy drum work out with rising chords, Dimitri From Paris layers in brilliantly funky bass and Adesse Versions and Borussia go for jacking club workouts.
Review: British techno legend Neil Landstrumm returns to Unknown To The Unknown with an EP that's described as a "super charged fusion of dance music styles". Prepare for a proper alien transmission via title track "Hell Is Other People", featuring long time collaborator Si Begg, and the vinyl-only exclusive electro funk cut "Shadow Man". On the flip, he goes for a classic acid house vibe (with vocoder!) on the Adonis sounding cut "Aviemore" while it's classic Landstrumm all the way on the raw hardware techno of closer "Jackshit".
Review: Jordan Alexander's been rinsing it under his Mall Grab moniker, and every release since his debut back in 2015 has been hotly tipped by us here at Juno towers. EP's for Church, 1080p and Collect-Call have now earned him a spot on Unknown To The Unknown, one of our favourite labels and surely one of the most diverse, too. "I've Always Like Grime", as the name implies, is a house track made by someone who listened to high doses of Crazy Titch and Plastician back in the day, but "Black Palms" does its best to distance itself from the UK thanks to some pretty nasty acid bumps, and "Menace II Society" heads to Chicago with its singular vocal sample and dusty house flex. Sick!
Review: This Numbers debut by Lanark Artefax is an ode to a waterfall above the Scottish village of New Lanark and comes after his breakout offering on Whities as well as a busy run of live shows that make reference to Stanley Kubrick's 2001: A Space Odyssey. Bass heavy and melodic, with falling keys and glassy pads raining down the face of each track, "Moo Orphaned Drift" has a cosmic air to it while opening cut "Corra Linn" is an IDM drum flurry, but it is closer "Ferthenheap" which makes the most impact; it's an ambient, emotionally devastating neo-classical piano piece of the highest order.
Review: "We are excited to finally announce and share 'Presentiment', the second Long Player from The Connection Machine. This release is particularly special for us as it will be the first time in over 20 years that Jeroen and Natasja have put an album out on vinyl. Despite having a string of aliased releases in the '90s on the mighty U-Trax, a 12" during the early days of Carl Craig's Planet E, a remarkable album 'Painless' on Down Low Music, and most recently a series of in demand E.P.s with Lost Trax on Tabernacle, their output has remained tantalisingly infrequent. With 12 tracks that capture their unique and awe-inspiring sound, 'Presentiment' opens you up to a world that only The Connection Machine have access to."
Review: It's hard to think of a DJ with the global profile of Nina Kraviz who runs a label as underground and innovative as trip. The latest comes from Shadowax, who has previously contributed to the label's compilations but now makes her full label debut. Unlike much of the frantic and frenetic material trip has dealt with in the past, this EP slows the tempos and explores more moody and hypnotic techno. Opener "Nikolai Reptile" is a super slow motion and dub rhythm with searching synth lines gently riding up and down the scale, while "Ochen" recalls the icy minimal perfection of Daniel Bell. "What About Me" has spoken word mutterings and paranoid, pressurised kicks that hurry you along and lastly "Mortal Talking" is a flurry of hyper-speed drums and synth loops to fully flip you out.
Review: Having crept out of the tape undergrowth and respected haunts like Clan Destine and Always Human to earn more civilized recognition on BANK Records NYC and Bliq, Strahinja Arbutina makes the move to Vivod for yet more of that edgy, leftfield techno business that keeps mothers awake at night from worry. The grit, noise and distortion has been faithfully carried through from the cassette-based roots of Arbutina's sound, but these tracks are more than ready to do the damage in the dance (where you're less likely to find a tape deck). Hold on tight as the likes of "Way Ahead" give the sound engineer a fright when they think the system has overloaded.
Review: Dwell is Recondite's sixth sumptuous album, and is a return to the Ghostly label that first released him in 2013. Since then his style has remained true to his gliding, delicate, hypnotic techno roots, with only the most subtle sonic evolutions marking each new record. This one takes in wandering and melancholic numbers like the title track as well as darker trips like "Black Letter". Each and every time, tracks are built on frictionless grooves, with the most deft synths layered up and twinkling keys gently sprinkled up top. What Recondite does, he does very well.
Review: Mihail P comes to Ferox with some taut techno very much drawing from the vein of machine soul that has defined Russ Gabriel's label since the start. "Intense City" is shrouded in mysterious pads, but it crackles with an urgent energy thanks to the razor sharp drum programming. "Sunrays" is a sweeter affair loaded with cascading synth delights, and "Angelic Whispers" takes things even deeper with an ambient-leaning palette. "Focusyn" is another mellow reflection, but this time there's a greater emphasis on crafty rhythms to offset the melancholy of the pads.
Dalhous - "He Was Human & Belonged With Humans" (Regis version)
Regis - "Blood Witness" (original 12" mix)
Vatican Shadow - "Church Of All Images" (Regis version)
Family Sex - "Manbait" (Regis version)
Regis - "Blinding Horses" (original 12" mix)
CUB - "C U 1" (original mix)
Regis - "Blood Witness" (Downwards extended version)
Tropic Of Cancer - "Plant Lilies At My Head" (alternate version)
Regis - "Blinding Horses" (Turin version)
Raime - "This Foundry" (Regis verison)
Regis - "Blinding Horses" (Stableboy version)
Review: The BEB boys have had this LP from Regis in the works for a while now, getting every coldwave freak from here to Timbuktu raving with excitement. Although this LP isn't made up wholly of new tracks, it is a fine compilation of the man's most important material post his purist techno days of the late 90's and early 2000's. Within, you'll find all of his most diverse and thought-provoking works, from the infamous remix of Raime's "This Foundry" to the gorgeous techno excursion that is the remix of "Loss" by Dalhous, a collection of works that span ambient, goth, techno and EBM. However, there a three new tunes: there's the excellent Nitzer Ebb-style remix of "Manbait" by Family Sex, the electrifying "CU1" by CUB, and the wavy, far-out trip that is "Plant Lillies At My Head" by Tropic Of Cancer. Yes, this is a bit special, so do the right thing.