Review: Brawther's Negentropy label has already carried gold star material from Ron Obvious and the man himself, and now it's the turn of debutant producer Zweizig to show off his wares. This assured 12" leads in with the ambient intro "Gewissen" before the crisp minimal funk of "Rhythm Tension" kicks in with its shimmering and shuddering sound design pinging around the dexterous beat. "Zephyr" is a smoky affair with a snappy broken beat and lots of subtle organic matter writhing in the middle distance. "Rehash Repeat" takes things deep and dubby to complete the set, all mellow hiccupping rhythm accents and hazy melodic phrases.
Review: ZamZam Sounds has been killing it of late, with Rider Shafique, Ishan Sound and Kahn's recent "When Shall We Rise" single arguably being one of their most potent releases yet. Here they continue that fine run of form via another must-check "45", this time via the artist formerly known as Deadboy, Al Wooton. A-side "Request" offers a deliciously contemporary take on steppers/dub fusion, with ricocheting electronics, humid aural textures and echoing vocal snippets jumping around above a killer bassline and bustling drums. He continues on a similar theme with "Philo", which is the kind of weighty, club-ready dub excursion that would sit well in many house and techno sets.
Review: Given The Primitive Painter would go on to become Alter Ego it should come as no surprise to anyone that this self titled debut from 1994 still sounds incredibly polished, and manages to hit a multitude of electronic notes in one very impressive swoop - some melancholic, some otherworldly, others punchy and direct. Re-releases like this are enough to convince even the most cynical first-pressing militants of the value in re-releasing. Why shouldn't a new generation of heads be won over by the beautiful acid ravescape painted by 'A Pagan Place', the slamming toybox percussion of 'Click Song', the emotionally charged euphoric downtempo joy of appropriately-titled 'Hope' or the retro futurism of electro-stepper 'Levitation'? As essential today as it would have been 25 years ago.
Review: In line with the timely reappraisal of all things R&S related, the resurgent Apollo have seen the opportunity to bring one of their most celebrated records back for another round. Aphex Twin's ambient recordings mature magnificently with age, sounding ever richer and more emotive as the rest of electronic music continues to play catch up all around. From the gentle breakbeats of "Xtal" to the aquatic techno lure of "Tha", the airy rave of "Pulsewidth" to the heartwrenching composition of "Ageispolis", every track is a perennial example of how far ambient techno could reach even back then. It's just that no-one quite had the arm-span of Richard D. James.
Review: One of the joys of Pugilist's productions is that you never quite know what you're going to get, though there's a fair chance it will boast extraordinary amounts of sub-bass. It's this inventive and off-kilter approach to bass music that makes many of his releases essential. We'd put this first outing for Martyn's 3024 label in that category. A-side "Blue Planet" is particularly potent, with the Melbourne-based producer wrapping tribal style hand percussion, tweaked acid lines and occasionally creepy chords around a bombastic bassline and a funk-fuelled, trickily tweaked two-step rhythm. TB-303 acid lines are also a headline-grabbing feature of the similarly weighty and loose-limbed "Acid Flange", while Tamen hook-up "Guidance" is a surprisingly spacey tribute to the early days of UK jungle culture.
Review: Fabrice Lig on DJ Bone's Subject Detroit label backed with killer remixes from Aaron Carl and DJ Bone! Allegedly stored in the Subject archives for some time, "Hmong Dignity" is finally unleashed and the original will be familiar to anyone that's witnessed a DJ Bone set in recent years. Eminently raw, but filled with melody thanks to those chords and restless riffs, "Hmong Dignity" is a fine example of how Detroit influenced European techno. A remix from the late, great Aaron Carl opens the B Side, lending the track a familiar dose of murkiness thanks to some stomach churning bass, whilst that instantly recognisable central melody is wisely retained. The accompanying remix from DJ Bone glides along on a tough techno meets electro vibe, superbly slicing up the melodic element to form an entirely different refrain.
Solar Sound System - "K7" (Nemo Vachez Transcendantal dance mix) (6:38)
Solar Sound System - "CD-R" (4:25)
Jimmy Batt - "Magic Garden" (5:27)
PO - "On The Radio" (6:09)
Review: London-based label Opia turn their attention to Solar Sound System, who have a playful brand of electro to impart that manages to fuse kitsch '80s slap bass and classic sample stabs with immersive, expressive pads on the head-turning highlight "K7". Nemo Vachez does a great job of remixing the track before another original closes out the B-side - the pumped up roller "CD-R". Jimmy Batt pops up on the B side with the cheeky tweaking of "Magic Garden", and then PO rounds things off with the deep techno delights of "On The Radio".
Review: 'The Man-Machine' is closer to the sound and style that would define early new wave electro-pop. Less minimalistic in its arrangements and more complex and danceable in its underlying rhythms. Like its predecessor, 'Trans-Europe Express', there is the feel of a divided concept album, with some songs devoted to science fiction-esque links between humans and technology, often with electronically processed vocals ("The Robots," "Spacelab," and the title track); others take the glamour of urbanization as their subject ("Neon Lights" and "Metropolis"). Plus, there's "The Model," a character sketch that falls under the latter category but takes a more cynical view of the title character's glamorous lifestyle. More pop-oriented than any of their previous work, the sound of 'The Man-Machine' in particular among Kraftwerk's oeuvre had a tremendous impact on the cold, robotic synth pop of artists like Gary Numan, as well as Britain's later new-romantic movement.
Review: When Braik made his debut earlier this year with an EP of retro-futurist breakbeat/tech-house/techno fusions, it was released on the most unlikely of formats: a CD-ROM. We suspect he'll get more praise and plays for this follow-up, which marks his first appearance on wax. There's much to enjoy throughout, from the chiming, acid-flecked deep breaks shuffle of opener "Breakund", to the funky acid bass, psychedelic electronics, creepy melodies and snappy house beats of closer "Jack O'Lantern". Sandwiched in between you'll the bold synth-string stabs, squelchy alien bass and jacking drums of "Intentos Fallidos", as well as the funky, sharply defined 21st century electro shuffle of "Buildin".
Review: Having shot into the limelight in 2012 with a 12" on Hessle Audio followed up by an outing on Liberation Technologies, Bandshell has since been on covert operations largely centred around releasing his music himself via Bandcamp. Now he's extended that practice into the B.S.Hell label, providing a physical presence to his wayward experimentation on the fringes of bass music. It's a sound that naturally aligns with the likes of Batu and Laksa, but also defiantly makes its own statement as well. With five tracks of distinctive drum science and textural voodoo to indulge in, this is a welcome return to wax for a thrilling, self-motivated producer.
Review: Three years in, Blackhall & Bookless' Jaunt label is becoming a serious force for forward thinking, fractured techno exploration. On this split EP with Chad, the duo take the A-side and present two different versions of "Links". The "Battle rework" is a tense and dramatic tumble through dub techno soundscapes, while the "Bleak remix" pares the elements down to a more focused, minimalist thrum. Chad presents a wholly different vibe on the flip, using rich, warm synthesiser tones to draw you in to "Afters", and then Scenery regular ASOK takes up remix duties on the track with an immersive version that borders on breakbeat.
Review: Braiden's material has been slow to come out since he first landed with a bang on Doldrums back in 2010. A turn on Rush Hour confirmed his status as a producer in command of the chops necessary to get a dancefloor shaking, but this year's X Years In London OST cassette was a chance for him to expand into more experimental pastures. Not so on this new 12" for his Off Out label, which finds Braiden turning up the heat with some fiercely modern tech house workouts. "V.O.L.A.T" has the same kind of dangerous earworm armour that made Paul Woolford's "Erotic Discourse" so potent all those years ago. "Hydroplane" meanwhile takes some of the crisp but playful tropes of Pearson Sound et al and straps them to a thrumming motorik beat.
Review: From his appearances on Aesthetic Audio and Ornate through to his own Atmospheric Existence label, Miles Sagnia continues to be one of the best kept secrets of British deep techno, and that's no more apparent than on this stunning release for Common Dreams. There's a looped up insistence to "Heal", but it's offset by emotive movement in the synth lines and an overall spiritual quality that escapes much cyclical techno. "Plight" takes a slightly slower path, amping up the early UK electronica tones for an immersive experience shaped out by interlocking rhythms and snaking melodies. It's a truly classy statement that stays true to techno while saying something original.
Review: Fresh off introducing the Bulb project from William Burnett and Crimes Of The Future bosses Tim Fairplay and Scott Fraser, the label adds to its growing roster of artists with the introduction of Tapan. Steeped in Belgrade's club scene as residents at Disco Not Disco, Tapan are evidently well equipped to the Crimes cause on the basis of the two productions presented here; both "Volumes" and "Who's There?" are creeping, slow techno numbers rich with psychedelic qualities with the latter featuring some fine guitar work from Vladimir Djordjevic. Willie Burns and Drvg Cvltvre have been collared to remix the title track and both opt to up the tempo whilst taking "Volumes" in distinctly different directions. The former reimagines the track as heavily processed shoegaze techno that could feasibly have surfaced during the Hacienda's pomp, whilst the latter mutates "Volumes" into an exercise in dank acid.
Review: After making a splash with releases on Twig and Lumbago, Raphael Beneluz brings his classy machine music to Cartulis with the P 12". Things get off to a pumped-up start with the dynamic, detailed thrust of "Xzomet" before the night draws in around the tastefully creepy workout "Darkanethesie". "Hostile Planet" opens up the B-side with more eerie atmospheres and stout box jam beats, and then "System Down" completes the package with another thumping tapestry of nervy acid and old-skool jack. For all the familiar touches, this is music dripping with personality and attitude, bottom-heavy and sure to devastation in the dance, real or virtual.
Review: DJ Central presents three new aliases on this elegantly put together 12". Conjuring up the perfect recipe for a DJ Cake, Central blends and explores the likes of pulsating atmospheric techno on the track "Balast", smoothly escalating breaks on "Ko Ko Dak Dak" and hazy crackling ambient on the finale "Daeksel". Unique, inspiring and truly excellent works from the one they call DJ Central.
Review: When a white label launches from an artist called MPX with single letters for track titles, you know there's some serious techno incoming. This four track EP is brimming with rugged, street-tough energy; from the slapping drum jack and throbbing b-line pulse of opener "G" to the crunchy strut of "J." There's plenty of psychoactive flair to match the classic drum machine flourishes though - "L" has a wicked arp coursing through its veins, while "K" takes the same rhythm section and boils it down to a hypnotising whirl of techno perfection.
Review: Turin techno stalwart Andrea has been serving up slabs of goodness on Ilian Tape since way back in 2012, though "Ritorno" is remarkably his very first full-length excursion. The 12 track set is far more varied than his fine club-focused singles, with the Italian variously turning his hand to swelling, Global Communication style ambient techno ("Attimo"), ultra-deep breakbeat dreaminess ("SKLYN"), melodious, jungle-influenced IDM ("LS September"), bassbin rattlers ("TrackQY", the skittish brilliance of moody roller "Reinf"), dreamy soundscape techno ("LG_Amb"), angular fusions of bass music and dark Italo-techno ("Drumzzy") and picturesque ambient dub slow jams ("Twin Forests").
Review: Charitable acts carry more significance than ever right now, and Needs are on hand with another instalment in their brilliantly curated series to give something to those in need while also presenting some wonderful, exclusive music. This one leads in with a truly uplifting blast of sunshine from Telephones before dropping into the edgy, swinging tech-funk of Ciel's "Faye Wong Plays The Strings". Al Wootton is on point with another of his fresh and dynamic twists on the soundsystem blueprint, with a dubby, percussive vibe that should appeal to those who miss proper dubstep. Eliphino completes the set with a squashed and feverish garage thumper that sounds like it has an iconic vocalist chopped up somewhere in the signal chain.
Review: Colin McGraw's MDA Analog project continues to enjoy a renaissance after more than 20 years of silence, serving up the third instalment of vintage techno with a house-spirited warmth. "Lost But Not Broken" capitalises on some particularly soaring synths to create a uniquely uplifting flavour, while "A Theory Of Everything" takes things deeper with dubby pulses underneath an ear-snagging set of keys. "Mimico Creek" has a particularly playful arrangement marked out by nimble arps and bleeps, and "Scavenger Hunt" completes the set with a punchy rhythm section and yet more plush layers of harmonic interplay.
Review: The second part of Omar S' You For Letting Me Be Myself album in vinyl form sees another 8 tracks across four sides of wax; aside from the '80s inflected sounds of the album's title track, the 303 workout of "Ready My Black Asz" finds itself with the dubbed out loops of "Messier Sixty Eight". As a bonus for those who already have the album, this part contains two vinyl exclusive tracks; the soothing deepness of "She's Sah Hero Nik" and the delayed organ weirdness of "Broken Bamalance Horn" - both more than worth the price of admission alone.
Review: Developer is back on Modularz with more steel-clad techno machinations for your toolkit. "Jive Kept Me Live" has a stern cyclical core, but there's a rich spectrum of tonality pulsing around this rhythmic focus to keep your brain twitching as heartily as your feet. "Over Cold Seas" centres around a particularly unsettling synth hook that sounds as though it's trying to punch through from another plane of existence, and "Headhunter" brings some more overtly melodic themes to the forefront. "Savage Nights" closes things out with the kind of unnerving techno incantations that you might expect to hear from Terrence Dixon - anyone who knows their techno knows that's high praise indeed.
Review: French producer Nathan Melja has amassed a spotless discography on the likes of Mister Saturday Night, Antinote and Opal Tapes, and now debuts on Kalahari Oyster Cult with another terrific offering. "Synesthesia" is futuristic sci-fi techno with shiny synth lines and a hurried kick pattern that gets you on your toes while the bassline burrows deep. TTT affiliate and Incienso co-founder Anthony Naples steps up with the first remix. His version is more dreamy thanks to the array of background pads, then closing things out is Pariah with a punch groove that leaves the original's prying lead intact. Essential stuff.
Review: After building his reputation via releases on Plus 8 and M_nus, amongst others, Julian Jeweil has secured a big-money move to Drumcode. As you'd expect, all four tracks on this first label outing tend towards the forthright, with title track "Rolling" - a sweaty fusion of booming arpeggio bass, pounding kick-drums, foreboding riffs, metallic hits and drum machine handclap fills - setting the agenda. The "build and drop techno" blueprint is explored further on "Venice", before the experienced Frenchman opts for some full-throttle antics on "Blue". Sensing listeners need a little bit of a breather, he dips the tempo a little on "Traffic", which boasts some deliciously psychedelic acid lines.
Review: In recent times the Zenker Brothers seem to have spent more time running their inspired Ilian Tape imprint than they have producing music. While we'd hardly criticize their choices - Ilian Tape goes from strength to strength - it's certainly good to have them back. The Munich-based siblings begin their first outing of 2020 with the melodious, far-sighted electro shuffle of "Shaketown", before wrapping mangled, mind-altering electronic riffs around a crunchy techno groove of "Chi Boost". "Bengel Mode" sees the siblings successfully combine alien-sounding riffs with a denser techno rhythm track, while closing cut "Outside" is a sparkling trip into hypnotic, slow-release ambient techno territory with nary a kick-drum in sight.
Review: The sixth installment on Malin Genie's self-titled label welcomes Will & Ink resident Yaleesa Hall into the fold. Regular collaborators Malin and Yaleesa have turned out plenty of joint 12"s in the past on Will & Ink and this very label, and they sound more comfortable and sonically aligned than ever on this mighty record. There's no messing with "Alpha Decay," a loose and lysergic dubby techno workout. "Tachyon" orbits a similar soundworld, but shears the fat away for a minimal palette that sounds powerful echoing around the ample space in the mix. "Muck" slips into freaky after hours house territory, and "Stocha" drops a massive Basic Channel dub techno chord around a whisper of a beat to devastating effect.
Review: Kirk Degiorgio has been a UK techno mainstay since forever. It's been 15 years since his last As One studio album, but "Communion" proves that it was well worth the wait. Covering the sort of star gazing, jazz tinged and high class techno that originated in Detroit, Degiorgio layers up lush chord symphonies with supple acid, icy harmonics and the sort of hi tech funk that keeps you on your toes. A masterclass in real emotion as well as propulsive groves, this is artful, expansive and cinematic techno of the highest order from one of the best in the game.
Review: Borft have been digging deep in the archives of much loved techno talent Crinina for some of his old unreleased works. What they have found is "Tropique Manique", a masterpiece from the 90s that pairs warm dub undercurrents with minimalist percussion and sleek synths. It all adds up to a perfect roller that will make any floor march. On the flip is another previously unreleased gem by VILLA ABO (a defunct project from Jan Svenson of FRAK fame). It's another sweet tendon groove, this time with busier synths and far sighted chords.
Review: With this the 3rd instalment of Hell's my definition of house 12" series, two new massive Gigolo old-school tracks are resurrected for the pleasure of a modern listening public. In 1986, three young DJs began making music on a 4-track recorder in a Baltimore basement studio. Little did they know at the time that more than 15 years later they would be viewed as pioneers of American dance music. 33 1/3 Queen (aka Basement Boys aka Jay Ateinhour, Reddy Souglas, and Thommy Davis) took samples of A Guy Called Gerald's classic "Blow Your House Down" (originally released in 1988) and made their single "Searchin'" which quickly turned out to be an underground club favourite. To date, the boys have remixed songs such esteemed acts as Michael Jackson, Erykah Badu, The Shamen, Angie Stone, Lenny Kravitz and Paula Abdul. In addition, they continue to expose and nurture new talents on their own label, Basement Boys Records, which was established in 1995. The Basement Boys have been responsible for some of clubland's biggest anthems and their hit "Searchin'" is as relevant today as it was ten years ago. Earth People's (aka Pal Joey) house masterpiece reach up to mars originally released in 1990 on Underworld Records finally gets a re-issue on Gigolo Records. The original with its monster drums shuffling guitars synth stabs great use of vocal samples and incredible production skills still withstands the test of time sounding like it could have been made yesterday. This is classic material here that will destroy any dancefloor!! House maestro Pal Joey released this tune, a funky cross-pollination of garage classics from Toney Lee ("Reach Up") and Dexter Wansel ("Life On Mars"), in 1990, and you have to thank Hell for making it available now once again to a 2006 audience. There's a fine line between classic and dated. Hell knows this well and selects only for his 12" series "My Definition Of House" those which were groundbreaking when they first appeared and still sound hot to 21st century ears. So keep your mind and ears open, for you never know what Hell will dig up from the basement next. Stay tuned for "My Definition Of House part 4"!
Review: It's not all minimal techno in Romania, as the P-Balans crew ably demonstrate on this second release from local hero The Holy Fix. The synths come down thick and gloopy on "The Void" before "Slagwise" ramps up the horror tones with a perfect distillation of what makes a soundtrack pop off. This is nightmarish disco music in the vein of Maiovvi and the like, and it's delivered impeccably. There is a greater focus on club tones amongst the atmospheric FX on Tracks & Traps though, with "Quite Vicious" in particular conjuring up a thrilling, madcap romp through buffed up disco techno.
Review: Veteran UK producer and DJ Aubrey finds himself on Brixton's Dream Diary label for his next offering. As always his brand of techno is laced with ambient lushness and superbly smooth and seductive grooves that roll deep. None more so than on opener "Abstract Chemistry" with its gently persuasive rhythms and dub-wise swagger. "The Slicer" is lighter and airier, with dancing drums and vocals all working it into a lather before "Distant Object" journeys deep into the cosmos with its hypnotic, loopy bass and glassy melodies to close out this most classy outing.
Review: Championed by Richie Hawtin & Ricardo Villalobos (featured on his Cocoon mix CD 'Taka Taka') the A-Side is armed with a highly infectious melody, beefed up with big, bouncy funky bassline. The B-side has trippy hypnotic sounds that echo in & out of the fluid melodies.
Review: Barcelona-based artist Cardopusher makes his bow on Bloody Mary's Dame-Music, serving up "'Conformity Kills' - an ode to all those who go against the norm" with the label head. In cahoots they are double trouble; psychedelic 303 workouts, ragged rhythms, frazzled synths and bowel-bothering bass are constant throughout. If you're looking for unrelenting workouts that will turbocharge your set, look no further. This is an EP full of hard-hitting, acidic EBM weapons.
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: Early in the year, forthright lo-fi techno experimentalist Delroy Edwards released an eccentric, 22-track, download-only album called Rio Grande. Here, he makes some of the highlights of that set available on vinyl for the very first time. It's an intriguing and largely enjoyable affair throughout, with the sometime L.I.E.S man following the glassy-eyed, recorded-from-the-radio Balearic warmth of "When I Think" with the stripped-back, noise-laden jack-track "Sugar Shack". These kinds of juxtapositions continue throughout, as Edwards flits between sweet and tactile downtempo doodles (see "Rio Grande"), clattering proto jack-tracks ("Let It Rock!") and hissing 1980s deep house bliss (the woozy brilliance of EP closer "Wild Illusions").
Review: Pretty Sneaky has managed to keep all names and IDs hidden so far despite putting out such essential minimal, house and techno cuts. The 5th release is another gem that anyone who has heard Midland play recently will recognise. Track 1 is all warped synths and ambient bird sounds tethered to a superbly supple and rubbery drum groove. Track 2 sinks into watery dub territory, with underlapping grooves and aqueous synth sounds all sinking you deep under the surface. These are weird and wonderful tracks that sound like little else out there.
Review: Krystal Klear knows a thing or two about making big dance floor tracks, and now he proves that again with tunes inspired by Jim Henson's psychedelic and cinematic nightclub fantasy of the late 1960's. The results are further-retro disco dazzlers with piebald leads, crystalline pads and chattering claps that all fizz with energy. "Future Fantasy" is the brightest of the lot, while "One Night In P Bar" gets more dark and dirty. "Dutch Gold" is an all out disco-trance anthem to get hands in the air and "Genesis" brings you back down to earth with long legged disco grooves and shimmering arps.
Review: Thankfully, Richard D. James has decided to finally release at least some of the output that he's been banging on about since mid-2000s. In a number of interviews, the might Aphex Twin hinted that he has vast artilleries of tracks stacked up and unreleased, probably more on purpose than out of laziness...or maybe not. What we do know is that AFX is reborn after the string of acid 12"s released about 10 years ago on Rephlex, that saw the alias become one of the most popular of James' alter egos. Orphaned Deejay Selek is a collection of tunes that contain all of the Twin's magic and unpredictably, but that also cut straight to the point and head to the middle of the dance floor. This is banging brain dynamite coated in the man's iconic style and flair. Welcome back AFX, and many hats off to Warp for making it happen.
Review: Alongside regular studio partner Andreas Baumecker, Sam Barker has released a swathe of admired singles and a couple of on-point albums on Ostgut Ton. Here he returns to the much-loved German imprint with his most significant solo release to date: a debut album of drowsy, sun-baked electronic positivity that expertly melds elements of hazy ambient, dub techno, off-kilter electronica and the classic kosmiche synthesizer soundscapes associated with Tangerine Dream. It's a lot less dancefloor-focused than much of his previous material, but that's not a criticism: indeed, the fact that it's warm, opaque and prioritizes fuzzy, slowly shifting musical movements is the album's greatest strength.
Review: The more Omar S material we get onto our shelves, the better off we all are. We love him, as you probably well know. The Detroit misfit has this knack for making simple house and techno sound rich and full of soul. That's not to say that he can't lay down some roughness and, in fact, that's exactly what we love about him. This EP, in particular, is one we've been wanting for a while' it's Alex O Smith at his damn best the whole way through, providing the dirt and the shine simultaneously. "Blown Valvetrane" is an absolute beat of an EP, a classic Detroit killer with an FX-drenched percussion, a simple drum machine groove and a whole heap of supreme nastiness - an absolute winner! "Busaru Beats" is a murky, distorted monster that lays in the shadows of its more aggressive A-side sibling, and "Deep Valve Cover" provides that classic Omar S hit; a joint that'll blow your mind with its utter simplicity and shady demeanour. SICK and BACK IN.
Porcelain (Alan Fitzpatrick Late Night dub) (7:52)
Go (Tiger Stripes White Tail remix) (7:08)
Go (Tiger Stripes Black Lodge remix) (7:20)
Review: Following the release of his superb autobiography a year or two back - not to mention his recent "snub" of new U.S President Donald Trump - Moby has been back in the news. Crucially, his old records are making a return too, albeit in freshly remixed form. This third remix 12" from muscular Swedish techno types Drumcode boasts three more reworks of vintage floor-fillers. On the A-side, Alam Fitzpatrick re-imagines "Porcelain" as a Berlin style tech-house chugger, using Moby's original synths as a spine-tingling breakdown. On the flip, Tiger Stripes lays down two remixes of "Go". The 'White Tail Mix" is a thumping techno stomper with a buzzing breakdown, while the "Black Lodge Mix" is a bumpin' house re-shape.
Hit It Bubba (I Want My Dadda's Rekids!!!!) (5:42)
Party Marty (5:47)
Review: The Detroit badman always delivers the goods, but he'd recently focussed on his more house-centric style thanks to a series of sleek, soulful releases. This time, he's come out all guns blazing with this new four-part killer, led by the absolutely nutty groove that is "Sink Holes" - a proper slice of Omar S acid, delivered in fine style and with his inimitable rawness. "HELL ON EARTH" is a moodier, funkier house tip with a jazzy side, while the flipside's "Hit It Bubba (I Want My Dadda's Rekids!!!!)" is a fast, upbeat house bomb with a crazy little disco sample that floats amid the grainy bass drums. "Party Marty" is a no nonsense kind of lick, pouncing away with a steady, yet unmistakably Omar S-style percussion, and a heavy bass blow. This is one hell of a way to make an appearance this early in the year - highly recommended!!
Review: Italian producer Enrico Sangiuliano may have been serving up dark and intoxicating techno twelves for the best part of a decade, but never before has he turned his hand to the full-length format. Biomorph is not just any old debut album, either, but rather a concept album described by Drumcode as "a journey of evolution". In practice, that means an album that ebbs and flows throughout, opening with a dash of spacey ambient, before charging off on a trip marked out by pulsating techno rhythms (crafted from both straight 4/4 beats and breakbeats), spiraling electronic motifs, booming, elongated basslines, experimental electronic interludes and more future big room techno anthems than the contents of Adam Beyer's USB stick. In other words, if you love Drumcode's particular brand of bombastic techno, you'll love Biomorph.
Review: Think of this as a Christmas bonus for Drumcode fans (and there are plenty of them around). It's a single-sided salvo that sees a back catalogue cut from label main man Adam Beyer being remixed by Kompakt Extra regular Kolsch. The track in question is "What You Need", a "Stone Flower EP" favourite that's amongst the most melodious and emotion-rich cuts in Beyer's armoury. Kolsch's version is wonderfully positive, with waves of melodic riffs (similar to the original, but seemingly played on a different synthesizer), glassy-eyed chords and spine-tingling (synthesized) string stabs soaring above a softer touch rhythm track. It effectively turns a fine record into a future peak-time anthem. In our world at least, that's a very good thing indeed.
Review: While most Drumcode releases are suitably sizable, this EP is particularly large - and not just because it features two huge names in Maceo Plex and Josh Wink. Their original version (A1) is predictably robust and rugged with foreboding low register stabs, metallic clangs, druggy vocal snippets and creepy melodies rising above stomping techno beats. It's a genuinely all-action affair that sounds like a massive room anthem in waiting. Over on side B you'll find two re-rubs: a more melodious Raxon remix that sounds like tech-house on steroids and a deeper, darker, trance-inducing techno take by Shall Ocin.
Review: Anders Trentemøller is one of the rising stars of the dance music scene, his remixes and productions have gained critical acclaim from a broad range of DJs and producers including Pete Tong, Sasha, John Digweed, Switch, MANDY, Mylo, Nathan Fake and Freeform Five. Released on the influential Poker Flat label this is set to be one of the definitive releases of 2006. Available as a limited edition double CD and double LP. Trentemøller is currently the most in-demand remixer (recently delivering critically acclaimed mixes for The Pet Shop Boys, The Knife, Royksöpp, Sharon Phillips and Moby) with releases on Naked Music, Get Physical, and of course Poker Flat/Audiomatique.
Review: Following fine releases on Shipwrec, Natural Sciences and Return To Disorder, masked electro/techno misfit Galaxian (real name Mark Kastner) makes his first appearance on Ilian Tape. The Glasgow-based producer starts in suitably big fashion via "External Observer", where what sounds like an orchestra of synthesizers gets to work over a skittish, bass-heavy electro beat, before exploring more dystopian dancefloor pastures on the moody, alien-sounding and otherworldly "Fuzzy Clouds Of Potential Existence". On side B he gives his out-there interpretation of early jungle ("Coming Up For Air"), batters a broken computer into submission and makes electro gold out of it (the slightly melancholic "Mechanistic Control Fantasies") and soundtracks the end of days (or possibly Brexit) on weirdo closing cut "Terminal Phase".
Review: Edanticonf has been a mainstay of Silent Season for many years now, first delivering an album and EP to the Canadian label back in 2012. Since then he's travelled to labels such as M_REC, Wolfskuil, Phorma and Linear Movement, but he's back home to roost with this gorgeous four-tracker that plays on his trademark sound. Rich with melancholic synth work and moving with a purposeful but thoughtful pace, this is exactly the kind of evocative techno that makes Silent Season a buy on sight label. Every track tells its own story, but the starry twinkle of "The Metamorphosis Of Plants" is especially captivating.
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