Review: Heaven Smile is a Nduja-affiliated label that is back with a second offering that takes a trip into futuristic techno as well as offering up some superb abstract outings. 'Hold-1' is an ambient soundscape that draws you into a filtered synth that pulses as changes shape. 'Track 2' is dubby, techno-leaning house with diffuse chord vamps and 'Aliasing' is a distorted, scruffy collage of broken beats and knackered claps with a fuzzy pulse running through the middle. 'Hold-3' offers another ambient moment to catch your breath then 'Windmill' suspends you in amongst the stars.
Review: Back to 96: The 4th Wave was a producer named Steve Paton. Also operating under aliases such as The Invisibles and Lo-Fi Sensibilities (when he appeared on Mo Wax), Steve didn't remain active for too long outside of the 90s but he left us two killer EPs. One on Planet E in 95 and this one on Kirk Degiorgio's Op-Art in 96. Reissued for the first time, and now featuring the twinkling downtempo delight "Lounge Music" (which was only ever previously available on a compilation), it's a powerful example of the Detroit/UK feedback loop at the time as both techno hubs were influencing each other. "Attention Please" rolls out the breaks, "Mean Streets" bites like a woozy UR record while "Cosmic Dance" whips up a tribal frenzy for the finale. 23 years old and still sounding future.
Review: A aka Mika Vainio's 'Fermionit' is a significant release from the late Finnish producer, who passed away in 2017. Originally featured in a Belgium Detuned 6x12 boxset just before his death, the track received critical acclaim from collectors and fans. Now, it returns to Mika's own Sahko label for a well-deserved 12" release. 'Fermionit' embodies the essence of Finnish techno with its minimalistic, cold and stark sound. The track's passive-aggressive edge showcases Vainio's signature style, blending raw, unfiltered textures with a profound sense of depth. This release not only honors Vainio's legacy but also offers a chance for new listeners to experience the pure DNA of Finnish techno. An essential listen for fans of minimalist and avant-garde electronic music.
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: If you're familiar with imprints like Nous'laer Audio, AD93, Tikita, or Semantica, but haven't yet explored the galaxy of sound coming from Ahrpe Records, now's your chance. Amandra is one of two heads behind said stable, and here the French producer shows everyone what time it is with a space walk through acid warbles and tribalistic rhythms. Neither of which give a particularly accurate description of what's here, but both are defining features of the tracks and EP as a whole. Whether it's the jazz-imbued shuffle of 'Prorokini', the phat wobbling steps of 'Brera Som Som' itself, or the wall of distorted percussion on 'Fanfaron', all four originals are standouts and hard to compare, while the cherry-picked remixes show just how much can be done with what's here, if the right ears are involved.
Review: Some 25 years after delivering his debut 12", Richard D James hasn't lost the ability to thrill or inspire. By his obtuse standards, the material that makes up the surprise Cheetah EP is actually rather laidback and melodious. "Cheetah2 (LD Spectrum)", for example, sounds like a slow house jam written by robots, while the even deeper "Cheetah7B" shuffles along in a metronomic fashion, seemingly oblivious to the increasingly aggressive World at large. Of course, those trademark skittish IDM rhythms are present - see the B-side's lead cut - and the Cornishman has thrown in a couple of hazy ambient cuts for good measure.
Review: As well as being one of electronica's most distinctive, recognisable and long serving warriors, Richard James is a man of many surprises. From his massive Soundcloud dump in 2015-6, to this unexpected 2023 EP - which was his first fully released material for around five years and appeared without warning - he likes to stay several giant leaps ahead of his public. Across its four tracks, it showcases his unmistakable, queasily melodic touch while revisiting the roots of his drill 'n' bass sound with a modern twist. Opening with 'Blackbox Life Recorder 21f', the EP sets a reflective tone, its light breakbeat and melancholy melody underscored by 80s-inspired drum textures, evoking a wistful yet futuristic atmosphere. This track encapsulates the beauty of his signature style, fusing emotion with intricate production. 'Zin2 Test5' shifts the mood slightly darker, with crisp production and an optimistic undercurrent woven through its melodies. It feels like a contemplative counterpart to the opener, balancing light and shadow with finesse. The second side dives deeper into experimental territory. In 'A Room7 F760' is a fast-paced, broken-beat journey through eerie soundscapes and sinister rave melodies, teetering on the edge of chaos while retaining a hypnotic allure. Closing with 'Blackbox Life Recorder 22 (Parallax mix)', the EP ventures into dubstep territory with a deeper, growling bass and ominous undertones. a dubbier reinterpretation that offers a more textured, shadowy perspective. Black (box) ops indeed - as ever.
Review: Well Curated is a series of releases and parties that - in its own words - "reflects the ethnomusicology of the last 50 years of music" - and aims to reach into all genres, merging classic styles and breaking down barriers. Steve Spacek occupies the A-side with the breezy broken beat and soul-in-space of 'Alone In Da Sun', while Lukid's 'Hair Of The Dog' is a more intense counterpart, with wobbling sub-bass and swirling, surging atmospherics hovering above.
Review: John Beltran's label debut sees the maestro flexing and showcasing the full spectrum of his composing and production skills over four diverse tracks.
Review: Sam Binga has established himself with boundary-pushing club tracks on labels like Critical and Exit and for this one teamed up with Welfare, a junglist and the Rua Sound label boss. Together they were inspired by the rugged beauty of Conamara, County Galway and began the project in a 300-year-old cottage overlooking the sea in a place free of creature comforts but rich in inspiration. Using a handheld recorder, the duo explored tidal caves, ruins and windswept coastlines while recording the ambient sounds they heard on the way and then turned them into these deeply textured dub compositions through live desk mixing at Dubkasm's studio.
Review: With an extensive legacy and a list of alter egos longer than your arm, Martin Damm aka Biochip C achieves a delicate balancing act on this 11 year old record, a handful of extras copies of which were recently unearthed in what can only be described as a highly fortunate 'warehouse find'. He pulls off a delicate balancing act here, letting the abrasive, industrial punk rock side of his music off the leash to frolic unhindered, while never losing sight of the needs of dancefloor and its needs across the six tracks. Highlights? Well, the title track's speedy electrofunk is highly addictive, 'Eraser' has a driving, chunky techno edge that fans of Force Inc will love, while the double dub speed grooves of 'Knobgine' and 'Liquid Silence' are forces of nature in themselves.
Review: Bluets' debut on Kimochi Sound seamlessly integrates into the label's well established and distinctive style. This one, with a hand-sprayed sleeve as always, opens with "if you can imagine," a confident bit of microhouse that mixes rich melodies and a lively bassline. 'Action Potential' echoes RDMA's aesthetic with its precise beats and on the B-side you will find a vaporous melody that weaves through sparse downbeat house grooves to make for a dreamlike atmosphere. Closing the EP, 'Buong Bilog' features distorted IDM rhythms and a poignant refrain that balances twitchy textures with melancholic tones. This carefully crafted release bridges home-listening electronics with dancefloor clout.
Review: Third part of the compilation celebrating the tenth anniversary of the Milanese record shop. This collection is entirely composed of previously unreleased music, exclusively produced for the occasion by many artists of great relevance in the worldwide music scene, who supported the store over the last ten years. The artists who produced the music for this compilation are Egyptian Lover, Ellen Allien, Thomas Brinkmann, Neil Landstrumm, JD Twitch, Matias Aguayo, San Proper, Tolouse Low Trax, Jay Glass Dubs, Dj Marcelle, Jorge Velez, Tamburi Neri, Fabrizio Mammarella, Heith, Itinerant Dubs, Timeslip89, Kreggo and Intersezioni Ensemble. The entire work is composed of 4 x 12", plus a bonus EP.
Flex (Roy Of The Ravers Dont Mean A Fookin Thing mix) (3:45)
One For Da Laydeez (Crispy Jason remix) (5:36)
One For Da Laydeez (4:10)
Kiss Me Quick (Inkipak Venting Plasma mix) (8:01)
Heavy Soil (3:30)
Review: JP Buckle's 1998 album Flying Lo-Fi is an unsung gem of the Rephlex catalogue, full of crunchy flair and all the qualities you want in a kick-ass braindance record. Buckle has more recently been reactivated with scattered releases on Bandcamp and the like, and now he's revisited his finest hour with a remix double pack which takes us back to some of the album's standout cuts bolstered by remixes from the current crop of electronica legends. 'Flex' and 'One For Da Laydeez' sound as fantastically crunchy as they did back in the day, but it's great to hear emergent acts like Crispy Jason (spotted elsewhere on Winthorpe Electronics) getting freaky with such feisty source material. Look out for the Roy Of The Ravers version of 'Flex' - another highlight on this high-grade braindance affair.
Review: Civilistjavel's most recent album, 2022's Janmatter, was a predictably atmospheric and out-there affair that blended suspenseful ambient moods and melodies with occasional IDM rhythms and plenty of experimental chops. Here two giants of leftfield electronic music and experimental techno give their interpretations of the album, crafting 'remixes' based on stems from a variety of different album tracks. Dave Huismans dons his familiar A MAde Up Sound alias on side A, re-imagining Civilistjavel's work as a hybrid deep techno/dub techno/ambient techno epic - all densely layered ambient textures, deep and distant beats, and waves of effects-laden synth sounds. Ossia takes a different approach on his 'Disconnected Dub', delivering an immersive sound design experience built around creepy, effects-laden ambient chords, unsettling rumbles and echoing bleeps.
Review: Sure Thing presents Well of Sand, its second compilation. Six tracks from the label's friends and favourites, each new to the roster, offer bold, untempered explorations of tempo and weight, a concise yet expansive collection recalling the deliberate cadence of rippling sand and the sheen of shimmering oases. From Command D's subtly groundswelling, but snappy 'Half Blue (Violet Mix)', to Foreign Material's alarmingly alien 'The Living Planet' and Third Space's supremely stereoized, lowercase opus 'Push (Part 2)', this is a release for that large intersection of audiophiles and techno-philes.
Review: Bristol label-turned-blog Innate launches a new sub-label, Innate Editions, which it says is dedicated to timeless UK techno, IDM, electro and ambient music, and it'll all come on heavyweight vinyl to boot. The first release revives Connective Zone's Palm Palm, a millennium-era cult classic and Ben UFO favourite that first came out on Mark Broom and Dave Hill's Unexplored Beats in 2001. Now, this long-out-of-print, expensive and hard to find gem has been remastered by Jamie Anderson and so sounds superb with many lavish electronic layers, richly emotive melodies and dynamic drums that lean on UK techno, IDM, and deep electro. Sounds as good now as it ever did.
Review: Yes, yes, one thousand times yes. Cryptobitch resurrect track ideas and stems originally formed in 2010, as if only to prove the fact they were well ahead of the curve back then. Packing plenty of IDM nuances, while everything here is very clever indeed it's also a prime example of why the hybrid dance revolution is so infectious and all-encompassing.
Call it drum & bass, call it bassline-infused techno, it's fast but funky, littered with rough riding breakbeats and absolutely inescapable. Futurism on record, you might say. From the acid-inflected jungle style 'DDoNK CrySyS' to the bouncing and jacking 'I Heart Hacking', the lush, opiate waves of synth juxtaposed with the flairs of snare-topped drums on 'Emotet (D Monica), to the compressed, crunching stepper 'Zero Day Demon'. Exceptional stuff that should be in everyone's bag. Or box.
Review: Berlin's Cocktail d'Amore and Tokyo's Ene Records have come together once again to present the music of Solidair. The duo of Cocktail alumni Luigi Di Venere and Jules Etienne present three tracks aimed to induce a dance floor hypnosis. Orgonite (Riding the Waves) does just that, a slow build awash in the ebb and flow of acid tinges, just enough to wet your whistle on a Saturday night. The original mix keeps the skeletal support but throws in a life preserver of 8 bit gaming synthesis. Frisky arps call and respond to each other before making way for sinewy pads to lift off. Tiger's Eye sets itself onto cruising speed incorporating elements of late 90's acid techno with the sleek and smooth clubbing aesthetics of modern day Berlin.
A three-track journey through meticulously crafted linear techno. Kicking off with the title song, the sci-fi groove, pulsates with a hypnotic energy perfect for main floors in the techno club. The production feels futuristic yet grounded, drawing listeners into a deep, atmospheric rhythm. On the flip side, 'Engine' intensifies the vibe with its crisp, addictive production. The track evokes an alien world, its steady beat anchored by sharp, precision-driven elements that build a sense of both tension and release. Closing with 'Cali', the EP takes a detour into ambient territory, offering a spacey, atmospheric experience. This one has you feeling like drifting through the cosmosiits sounds evoke a sense of weightless movement, accompanied by abstract noises that conjure imagery of space junk and distant space flights. Each track offers a different layer of sonic exploration.
Review: DJRum's career has blossomed in recent times, in no small part thanks to his mind-mangling and frequently thrill-a-minute DJ sets. Unusually given his prolific work-rate earlier in his career, the much-admired producer has not released much new music of late; in fact, this mini-album for Fabric offshoot Houndstooth marks his first 100% fresh release for five years. It's predictably impressive, with highlights including the twisted TB-303 trickery, bombastic sub-bass and polyrhythmic post-dubstep UK bass beats of 'Codex', the high-octane modular techno insanity of 'Crawl', the spaced-out and dubbed-out, Autechre-ish IDM weirdness of 'Frekm (Part 1)', and the deconstructed breakbeats, psychoactive electronics and metallic effects of 'Frekm (Part 2)'.
Review: In the wake of The Knife, Olof Dreijer has been plenty busy behind the scenes and scattering hints of his incredible production for those paying attention. Now it feels like he's building to a wider profile breakthrough as he lands a knockout blow with this release on Hessle Audio. It's a maverick release, which is its pass into the curious sound world shaped out by Ben UFO, Pearson Sound and Pangaea, but equally it brings something new to the label. The joyous, colourful melodic daubs across the EP alone are something to make a dance collectively look up in wonder, with 'Camelia' being an especially beautiful, uplifting track to bring hope and positivity when so much club music tips towards the darkness.
Review: The fledgling Detach label continues to show it means business with a new 12" in a lovely screen-printed sleeve. Romanian artist Dyl is the one in charge and has been serving up consistently excellent and innovative sounds now for serval years. All of these cuts mix up great sound design with languid rhythms - the first is eerie, with watery droplets and glassy tinkles hanging in the air, while 'Glasshouse 2' has a percolating rhythm down low. 'Glasshouse 3' gets a little more dynamic with a shimmering low end and freaky abstract life forms and 'Glasshouse 4' layers in more intense and ever-shifting synth lines while the closer sounds like it's roaming through a deserted factory long after it shut down.
Det Blaser En Vind Genom Varlden, Och Det Har Det Alltid Gjort (6:54)
Review: An experimental techno hexagram in LP form from Stockholm artist Evigt Morker. Without so much as a hint of context, the techno dark-shooter here drops his third LP for resident label Northern Electronics as a surprise, and the result is rather stunning. A bleary set of impressions, some tunes on this record clip the top edge of the mix, chinking our emotive armour. The effect is gastric, dehiscent, exuding bile: 'Hemilga Eldar' leaves us dumbstruck by its ambient eventidal winds and strangely sprawled drum shapes, while 'Sokaren Hittade' combines nyctophile cantos with electric twangs. The closer 'Det Blaser En Vind...' is a headland of humility, letting in much longer gusts of tuned air.
Review: Kihon Ido is a brand new Japan-based label whose name translates as 'Fundamental Movements' and we're told it is here to focus on timeless dance music by exploring foundational sounds across styles and eras. Its debut release from Extra delves into deep, hypnotic and textured techno from the off. 'Visigoth' is a sophisticated blend of atmospheric layers and smudged dub chords - it's music that transcends the dance floor trends while remaining immersive and evocative. The other cuts explore more smooth and loopy DJ Nobu style cuts with 'Full Circle' offering a more playful and light melodic sound.
Review: The first anyone heard from Robert Fleck was an early drop on Well Street back in 2018, and it's been quiet since then. Anyone following Well Street knows it's a hot tip for upfront artists in the fractured fissures of the UK underground, and Fleck makes a welcome return to prove the point. There's a lot of different touchstones you could point to on this release, from nimble-footed broken beat and a whiff of nu jazz orchestration, not to mention a bass music sensibility and an appreciation for deeper strains of UK techno. But more than all that, Fleck merges his unique spread of influences into something fresh and unique, comfortably slipping between conventional genre markings with the kind of flair we've come to expect from Well Street.
Review: Floid is back with a second release on Omen Wapta that finds the Delft-based artist mixing up fresh sound designs with potent rhythms that are everything you could wish for - immersive, cinematic, and danceable. 'Opanzi' begins with brilliant hypnotic, stripped back and lurching rhythms marbled with aline sounds and underpinned by driving bass. From there the likes of 'Dufus' twist and contort drums and synths into a tightly woven and mind-melting tapestry and the otherworldly, shamanic feel continues with the urgent throb of 'Zoona', percolating underworld menace of 'Skudd' and high-pressure drum funk of 'Bondo'. A truly unique EP.
Review: Trauma Collective returns to shock your system on their fifth release, which comes courtesy of Spain's Rafael M. Espinosa aka Geistform. The Barcelona-based artist, also known for his exploits under the Univac alias, has crafted a singular style that exists at the interzone of IDM, digital noise and electro and having earned him releases on Pi Electronics, Femur and Hands Productions in recent years.
Espinosa executes four programs in sonic warfare on the Antena EP, all sounding akin to complex bitstream amplification. A multi-level barrage of frequencies play offense on opening cut "Proxima B", which sets the theme for more widescreen pulsations that gash the senses, as heard on the syntax error of "Note Repeat" and building up to a climax on the monochromatic soundstage of "Norc" - a jagged and angular exploration in bass artefacts and static redux.
Since unleashing the austere techno of Birmingham legend Mick Harris (as Monrella) and hometown hero Kwartz on unsuspecting ears, the Madrid-based collective has now ventured into more experimental spheres, as heard on the off-kilter mentalism of ASC's Loop Research and the brooding atmosphere of Makunaimadama's limited cassette release last year. Antena is the logical progression for the label's next chapter, where it continues to push the threshold of electronic music's outer limits.
Review: Founding member of Depeche Mode and celebrated singer songwriter in his own right, Martin Gore's The Third Chimpanzee EP is up there with some of the best solo work he has ever put out, with a particularly unique type of dance-synth vibe that you can't escape from no matter how hard you try. Now we have the remixes, which have a lot to live up to but come with plenty of promise.
After all, the chosen producers involved are all heavyweights in their own right, and were certainly ready to step up to the mantle here. Opening with a pair of tracks made different by two of Brazil's most revered techno heads - ANNA and Wehbba - from there we get Berghain bass experimentalist Barker, the fury of Rrose, and percussive wonder of JLin, and that's before we come to the likes of Chris Liebing and Kangding Ray.
The Dichtomoty Of Telling Everyone Everything (Loggsplitter remix) (5:53)
Review: Following the success of last year's Walks, Group Listening returns with a new 12" for PRAH Recordings. The title and artwork both explore themes of decay, expiration and musical renewal and the music was in part inspired by a small DIY festival in Bristol. Paul Jones explains the title represents a radical, open call for change while 'Tell Everyone Everything' is a layered, intense synth soundscape with destined pads and nimble chords that lock you in the here and now. The release also features remixes by Ancient Plastix and Loggsplitter who bring sub-aquatic dub and mind-melting rhythmic intricacies.
Review: Hackney Electronica is a collective of underground stalwarts who came together during COVID. It comprises the mad prolific Quinn Whalley of Paranoid London, Warmduscher and Decius, as well as Unai Trotti from Cartulis Music and Margo Broom of Hermitage Working Studios. They deal in acid-laced sounds which are a perfect fit for Dark Entires and here explore twisted late-night club sounds that are alluring yet austere. As their name suggests, they capture the vibe of Hackney's backstreets in their music with 'H.E. Nuestro Circuito' and 'Whispers from the Depths' bringing 1980s DIY electronics to a contemporary dancefloor, while 'Efecto Perfecto,' 'The One' and 'Nueva Ola' deliver potent electro powered by big breakbeats. It's a superb EP of tension and transcendence.
Review: Welcome to System Revival Recordings, a new label which inaugurates itself with an EP from Headless Horseman. He is someone who has a sophisticated sound and experimental approach to sound design that always brings his techno to life. 'Minor Setbacks' is a new series of releases on this label and its cut here is a fierce one indeed that was originally made as support for a Various Artists compilation for charity for Beirut in 2020. It has lashing of acid flash about the mix over tight, textural drums. Berlin's boundary breaking Monolake and Detroit's influential Erika add their own remix.
… Read more
$15.67 SAVE 30% in stock$10.97
Artikel 1 bis 50 von 338 auf Seite 1 von 7 anzeigen
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.