Review: Leon Vynehall has made himself into one of electronic music's most intriguing artists. From club bangers to soul jams, working with choirs to intricately stitched together DJ mixes, he can seemingly do it all. Now he's back with a new single that is "directed squarely at soundsystems". "I Cavallo" offers up something dark and intense that explores a "dissonant and psychedelic corner" of Vynehall's sound alongside a "ClubFront" mix of the track on the flip. Whichever version you pick, it will draw you right in for the duration.
Continuez Mon Enfant Vous Serez Traite En Consequence (4:53)
Review: The seemingly unstoppable rise of Helena Hauff continues apace. After previously shining on Ninja Tune's Actress-helmed Werk Discs offshoot, the Hamburg-based DJ/producer has now graduated to the parent label. As usual, there's much to enjoy throughout, from the punchy drum machine percussion, tumbling synthesizer melodies and foreboding chords of opener "Nothing Is What I Know" and thrillingly intense, end-of-days techno jam "Do You Really Think Like That", to the lo-fi, intergalactic brilliance of closer "Gift". Perhaps most impressive, though, is "Continuez Mon Enfant Vous Serez Traite En Consequence", a thrillingly wonky trip into dark, acid-fired electronica. In a word: essential.
Review: Since announcing their debut album on UK institution Ninja Tune earlier this year, Irish duo Bicep present the first single from the album in the form of title track "Aura". Said to have been created via a series of accidents while experimenting with a new studio setup, the track finally came together through trial and error and here is the wonderful result. A dark and sexy serving of dancefloor drama featuring 'hands in the air' style vintage synth melodies, life affirming strings and immaculate drum programming. It is sure to be one of 'those' tracks you're going to be hearing a lot of in the latter part of 2017 and beyond.
Review: Having previously starred on an unfeasibly large number of labels (including Rush Hour, Ovum, Liebe Detail and Burek), Kink adds another to the growing list. Cloud Generator marks his first appearance on Running Back, and contains, in the words of label boss Gerd Janson: "music for big rooms, wide eyes and small brains". In some ways, it's an apt description. Undeniably old skool in outlook, the EP's four main tracks variously doff a cap to vintage European techno (the blistering title track, which comes complete with many early '90s Belgian trademarks), hands-in-the-air, hardcore influenced techno (the saucer-eyed riffs and booming low end of "Diversion") and twinkling Balearic house ("Pocket Piano", which also gets a rave-era breakbeat re-touch).
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: 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: Smoky techno futurist Redshape dons his famously featureless mask once more, this time for an outing on regular home label, Running Back. Of course, the German's music is anything but feature-less, as this EP confirms once more. Opener "Rise" has scintillating chords draped over busy, shuffling, breaky-drums that find Redshape cooking up some funk, which is rare for him. We dig. A "Bonus Beats" and "Acappella" mix are included for adventurous DJs, while the flip sweeps you off your feet on a breezy, floating techno groove that is riddled with synths that flutter in warm solar winds. A firmly rooted and rolling Motor Mix of "Rise" closes out yet another essential Reshape offering.
Review: Released earlier this year to critical acclaim, Krystal Klear's "Euphoric Dreams" was a non-stop rush of neo-trance synthesizer refrains and melodic, life-affirming electronics. Here, Kink turns in his takes on the track, starting with a formidably filthy, bass-heavy take that flits between euphoric, synth-heavy sections and dark, stripped-back grooves. It's neo-trance, Jim, but not as we know it! The veteran producer's flipside "Drums & Bass Mix" removes the giddy and glassy-eyed synth parts, instead layering psychedelic acid lines atop thumping, trance-inducing beats and Belgian hardcore style "Hoover" bass. In other words, it's a properly intense techno throb-job.
Review: As the matter-of-fact title makes clear, this 12" is the first in a series of EPs offering up fresh reworks of tracks from KiNK's superb 2017 album "Playground". These revisions are, we'd suggest, rather large. Check, for example, the celebratory rush that is Dusky's rambunctious reworking of "Perth", which builds on waves of luscious chords and snappy beats before turning into a stab-happy, riff-heavy main room slammer of the highest order. Arguably even better is the druggy, metallic pulse of Radio Slave's ten-minute "Disco Dub" of "Teo Techno". It doesn't sound like disco, of course, but rather a throbbing, angular trip into Berlin techno territory that's as mind-altering as it is heavy.
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: 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: For the latest missive on their fast-rising DET313 label, Gary Martin and Yossi Amoyal have dug deep into the archives of Martin's long-running Teknotika Records imprint. First up on the A-side is a re-mastered version of "A City At Night", a Martin cut from 1990 that mixes the futurist intent of Motor City techno with chunkier, UK style techno grooves and the kind of stabs and musical flourishes more associated with Robert Hood or Terrence Parker records. Side B boasts a freshly extended edit of another Martin gem - this time under the Gigi Galaxy alias - from 1994. "The Dream" more than lives up to its title, with Martin wrapping restless bass, starry lead lines, alien electronics and sumptuous chords around a hypnotic deep techno groove.
Review: Israel duo Red Axes land on Dark Entries with more of their brilliant guitar and synth fusions. "Voom" is a twitchy sci-fi kraut rock experiment that eventually erupts into a fantastic breakbeat while "Dosa" is layered up with comic drones and boarding baselines that pin you to the floor. There's a dark disco vibe to the crashing hits and menacing arps of "Mister Q" before analogue machine goes wild on closer "Prblems" with its twisted leads and detuned chords all growing increasingly unhinged. Diverse and electrifying club music as ever from this pair.
Review: Hugo Capablanca may be best known for his more disco-minded output from his time on Gomma Records, but increasingly his scattered output and his label have been reaching towards more abrasive material. Nothing will prepare you for the confrontational nature of this daring, 'no label' transmission. The artwork alone is enough to challenge the senses, while the opening track is a metallic drone that gives way to the distended mutant beats of "Top Less". Guy Debord is no less cut throat in delivering a "Disco Punish" remix of "Lap Dance" on the B-side, all deconstructed groove and guttural noise, and then "Dance Less" rounds the record off with another excursion into unsettling, heavily processed noise.
Review: Shcuro is the alias of Joao Ervedosa a DJ, producer and graphic designer based in Lisbon. He also runs the record labels Sombra and Paraiso, makes music as Jose Acid and hosts a show on Radio Quantica. His first contact with a DJ setup happened at age 15, and that's when Shcuro decided to buy his own turntables and mixer; and started producing his own beats, too. He's since released music on Basal, Circus Maximus, Obscuur Techno, Golden Mist Records and his most recent collaboration with Photonz for Future Deja Vu.
'Particle of Memory' is a hypnotic 6-track EP that explores new territories in contemporary dance music. Sonically Shcuro paints his sounds blending moody techno with industrial noises alongside fast, apocalyptic electro and breakbeat. He is influenced by Portuguese rave culture that was born in the mid-90s at Lisbon clubs Alcantara-Mar and Kremlin and the country's first electronic label Kaos Records. Shcuro continues to expand and morph this rich dance heritage to create something entirely different. The bouncy, lead track "Afterlife" features vocals and lyrics by London's ELLES followed by a Decadent Dub rework. All songs have been mastered by George Horn at Fantasy Studios. Housed in a die-cut jacket designed by Eloise Leigh reminiscent of '90s escape/sci-fi films with futuristic bright pink pop flourishes
Review: Dark Entries are simply a good record label, enough said. However, we will give you a touch of context on this latest killer, a four-tracker by the mythical Frak trio, still wearing their aluminium hats after twenty years of head-banging. "Sudden Haircut" has been recorded exclusively for the label, and it's a delicious techno lick with a crescendo of XOXBOX acid, while both "Synthfrilla" and "Synthgok" were recorded in 2010, and have previously appeared on the much coveted Sex Tags Mania label out of Bergen, Norway - both essential bangers. The finale is in the shape of "First Glimt I Ogat", another of Frak's classic drum-led house weavers that works both on its own and mixed into just about anything. Recommended gear - be quick!
Review: San Francisco label Dark Entries keep up the tireless pace of releases, focusing here on the acid house phase of Psychic TV, the long running and hugely prolific music project of Genesis P-Orridge and a cast of contributing musicians. Characterised by some spectral didgeridoo playing, "Alien Be-In" first appeared in original format on Psychic TV's 1990 LP Towards Thee Infinite Beat and it's license for reissue by Dark Entries is complemented by some fine remixes. The band's own Fred Giannelli turns in a mono mix "sourced from the Emax floppy discs" but the real coup comes from the pair of B-side remixes involving the ever-excellent Silent Servant. One, in collaboration with John Tejada, is gripping techno whilst the other solo effort is redolent of Juan Mendez's recent Cititrax outings. Another must have from the DE crew!
Review: It's been some six years since Caroline "Miss Kittin" Herve and Michel "The Hacker" Amato last delivered fresh material together. While we await further news of their long-mooted comeback, there's this tasty EP of previously unheard archive material to enjoy. Made up of tracks recorded between 1997 and '99 - when their production partnership was in its' infancy - The Lost Tracks Volume 1 contains a number of fuzzy, stylish, floor-friendly bangers, from the S&M-themed madness of opener "Leather Forever" and stripped-back electro gem "Nightlife" (a tribute to Berlin clubs of the period, apparently), to the high-tempo acid-loaded freakishness of "Loving The Alien". Top-notch sleaze.
Nothing Is True; Everything Is Permitted (instrumental) (4:54)
Breakin' Indistortion (instrumental) (4:16)
A Dirty Song (instrumental) (5:05)
Review: Dark Entries know their stuff when it comes to '80s synth pop reissues, and this latest reissue of Carlos Peron's Dirty Songs single is a sign of just how deep into the crates these guys get. Originally out over thirty years ago, these instrumentals are still total killers and will go down a storm in most DJ sets which venture out of the 4/4 formula. "Nothing Is True; Everything Is Permitted" and "Breakin' Indistortion" are particularly fresh and must have truly cut the edge back then: metallic drum machine beats and sparse melodies ring away into the cavernous ambience created by Peron. Wonderful and highly recommended.
Review: Pavel Milyakov has largely impressed since making his debut under the Buttechno alias earlier this year, delivering a pair of 12" singles that gather together short, hardware-driven experiments in a variety of dystopian styles. Here, the Russian producer debuts under his given name, once again flitting between dark and spacey dancefloor workouts, bleak broken techno, macabre electro, wonky IDM and panicky ambience. Despite the stylistic shifts, the EP hangs together impressively, thanks in no small part to Milyakov's penchant for industrial textures, tape echo and haunting melodies. If you're into the releases of L.I.E.S and Berceuse Heroique, you need this in your life.
Review: The Abstract Eye is Gabriel Reyes-Whittaker, a producer who releases music most using the monikers GB, The Reflektor, Frankie Reyes and Julian Abelar. Five prolific, soulful/melodic tracks originally released in 2011 on Valentine Connexion, now available again courtesy of Amsterdam's always reliable Rush Hour. The extraordinarily gifted Los Angeleno creates striking electronic songs here which integrate the technological with the spiritual and ancestral. There's respectful nods to Motor City greats like Japanese Telecom ("Cool Warm Divine") and John Beltran ("Nobody Else") on here. "Nobody Else Pt. 2" channels the cyclical/minimal soul of Internal Empire era Robert Hood: absolutely sublime!
Review: By the time they released the cheekily titled Deep House Anthems in 1991, Chris Shepard and Mike Mangino had been releasing thrillingly odd cassettes as Smersh for eight years. Despite the title, it's typical of their work, focusing as it does on a bombastic fusion of industrial attitude, EBM style vocals, ragged acid lines and obvious electro influences. Here, four tracks from that cassette appear on vinyl for the first time, thanks to the efforts of San Fran crate diggers Dark Entries. The quartet of cuts is as bombastic and full throttle as you'd expect, with acid-fuelled opener "Rhythm Crash" and techno slammer "Hard Wired" being our pick of the bunch.
Review: Having spent much of the last 12 months furiously re-issuing classic Italo-disco bombs, Dark Entries has finally got round to releasing some more contemporary cuts. The man behind this EP is Victor Lenis AKA Cute Heels, a Barcelona-based Colombian who last appeared on the imprint in 2014. As usual, the two new productions showcased here see him explore a range of vintage electronic music influences, presenting them in a typically stylish and authentic way. "Third Skin" melds the muscular sweatiness of EBM to the jackin' energy of Chicago acid, while "Lipstick Information" offers a master-class in dark Italo-disco and early Detroit techno fusion. Steffi and The Hacker both give the title track a thorough going over, with the former's deliciously hypnotic, psychedelic take being particularly potent.
Review: It would be fair to say that Series-A's Evolution Technology is something of a long-lost electro classic. Written and produced by Detroit friends DJ Maestro and Kid Fresh in 1987, 50 promo copies of the record were pressed before the label they'd signed to, California's Satellite Records, went bankrupt. This was always a shame, as "Evolution Technology" is something of a killer: a spellbinding chunk of futurist electro that updated the Cybotron blueprint for the emerging Motor City techno generation. As well as the original 7" and Dub versions, this first "proper" release also features a brand new rework from Tad Mullinix (under the JTC pseudonym), which appropriately re-casts the track as a spacey Detroit techno shuffler.
Review: Having plundered the cassette archives of Bill Converse for the psychedelically-charged album, Meditations/Industry, earlier this year, Dark Entries score another hit from the Texas-based hardware exponent for their latest 12". Three of the four tracks on this 12" originate from that same Obsolete Future cassette, with the fourth originating from studio sessions around the same time. Title track "Warehouse Invocation" sets the mood, with minor key synthesizer refrains and undulating acid lines weaving their way in and out of a druggy, off-kilter electronic groove. Converse moves further towards straight-up techno territory on the fizzing analogue funk of "Senys Magick", before fusing crystalline synthesizer riffs and a sludgy, distorted drum machine groove on the impressive "Riverbank".
Review: Tel Aviv born, Berlin based duo TV.OUT make their Dark Entries debut with a 6-track EP titled 'Dust Till Dawn' out Black Friday 2019. Doron Mastey Charly & Ori Itshaki have made a name for themselves the past few years putting on impressive live sets, DJing around the world, and running Parallax Records releasing various strains of rugged, well informed electronic music. Clocking in at 36 minutes this collection moves in hot pursuit of their two previous EPs for L.I.E.S. Side A opens with the metallic hi-hats of "Morning Light" that echoes early Euro/Goa techno-EBM sound to the 8-minute sleek, pounding industrial darkroom vibes of "Sun" and closes with the titanium-tipped 808 warped electro of "War Zone". Side B leads off with the heavy New Beat scorcher "Lord", a song we first heard on a mix from Cardopusher and knew we had to release. Then comes "Product Of My Environment" a slow-motion mutant menace that flows into the final song "Slippery Slope" a classic West Coast of The Hague '90s style electro perfectly suited for complete dance floor drama. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket designed by Eloise Leigh with black-white-red apocalyptic vibes and bold type.
Review: Dublin techno deity Matador returns with peak time ammunition. Growing, tension building and valve-releasing stuff made for main stage rigs and darkened, sweaty basements alike. Fans of the producer will not be disappointed, especially as it has been over a year since we got last summer's 'Air' on his Rukus imprint. Digressions aside, it's hard to know which of these techno offerings will do more damage, and not just because all three have a similar approach to taking us where we want to go. Opener 'Come With Me' is all about the background synth refrain, a continuous energy build beneath acid hooks and razor sharp highs. 'Connected' re-emphasises the importance of top-end percussion, only breaking twice to allow for a quick recharge. Finally, 'Fidgit' takes those ideas up to 11- a peak time weapon make no mistake.
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: "Grey Skies In A Dear Green Place" is the debut Dark Entries release from Fear-E aka Glasgow's Scott McKay. It comes after 10 years of hard hitting DJ sets and productions on labels like Dixon Avenue Basement Jams and is packed from to back with rib-rattling, foundation-shaking techno. There are raw jack tracks like "Acid Conversion 5", deep but frenzied bangers like "Craig's Wee Sweet Shop" and mechanical melodic explorations like "Approach It Like A '90s DnB Banger". There's even a bit of hyper speed electro in closer "The Mouth From The South" that shows another equally effective side to McKay's sound.
Review: Stellar Om Source's uniquely lively and dynamic techno sound is back! Here landing on Dekmantel, the producer is in full flow on "I See Through You" - opening with "Night Alone" which marries grubby, corrugated bass and jacked up drums with a super emotive diva vocal that is sure to become anthemic. "Lost Codes" is a darker transmission, with percussive flurries and siren like leads adding up to a real rave. There's a new vision for deep house laid out on the acid laced "White Echoes" before "Wild Palms" closes out with a peak time offering of posh techno trance.
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: Greyhouse was the first of many aliases adopted by Dutch DJ/producer Marcel Hol. In the late 80's the first signs of 90's optimism and euphoria started. Marcel was young, creative and ambitious because he got his hands on some new equipment like the sampler. Electronic music was within reach. Greyhouse landed a recording contract with Hip Hop Records, a dance label founded by Erik Van Vliet based in Rotterdam. In 1989 he released his debut single "Move To The Groove / New Beats The House." Renaat Vandepapeliere from R & S Records cleverly spotted the record's potential. re-releasing it with "New Beats The House" as the A-side With this new exposure the song became one of the biggest hits of a New Beat sub-genre called Hard Beat.