Review: Having made his name during the late '90s and early 2000s as a maker of particularly forthright techno, Oliver Ho has broadened his horizons in recent years. Nowhere is that more obvious on his Broken English Club project, which debuted last year with a pair of industrial and EBM minded releases for Jealous God and Minimal Wave offshoot Cititrax. Here he returns to the latter, laying down more fuzzy, straight-to-tape journeys into analogue, mid '80s dancefloor experimentalism. There's naturally much to enjoy, from the peak Cabaret Voltaire grittiness of "Drycutting", and the bleak EBM throb of "Ritual Killing", to the ghostly synthesizers, Jaydee bass and droning textures of "Channel 83".
This Terrible Virtue Of Forgiveness (GIL remix) (4:23)
Review: After almost a year hibernating (presumably within the dystopian ruins of a once proud Industrial city), S S S S man Samuel Savenberg returns with more angry workouts, noisy soundscapes and creepy ambient interludes. Surprisingly, much of the material is more melancholic and unsettling than it is forthright and insanely intense, with only the fuzzy, high-octane crunch of "Stripped" having any serious dancefloor intentions. This is not a criticism, though. In fact, the EP's more considered soundscapes and music concrete style collages are uniformly inspired, with the droning lament of "This Terrible Virtue Of Forgiveness" and yearning "Absence" standing out.
Review: Libertine's 14th release is something of a beast: a double-EP from sometime My Own Jupiter Producer Do Or Die that squeezes in nine impressively varied tracks. The fast-rising producer's roots are of course in techno and electro, but he's not shy in exploring every avenue of these wide-ranging genres. For proof, compare and contrast the acid-fired, new wave-influenced bubbliness of "Galactic Bang Bang", the fast-paced acid-electro intensity of "Blackmail", the Italo-disco style throb-job "Morning To Lose", and the chiming, all-action cheeriness of quirky closing cut "Small Town Yoky 11". The rest of the double-pack maintains this interconnected eclecticism, portraying Do Or Die as a producer with a head full of ideas and an eccentric musical vision of his own.
Review: AUX88 Bass Magnetic re-Issue 1993-2018. Back by popular demand, the same unique spirits that brought forth the
sound of Detroit streets and turned it into the futuristic soundscape known as "Techno-Bass", The Original members
have collaborated to re-issue their catalog 25+ years later. Starting with their 1st double pack LP, "Bass Magnetic"
(considered to be a mesh of influences between Miami bass and Detroit techno), AUX88 established themselves in an
effort to stay true to their roots in the streets and the clubs creating their own genre into a global dance culture. After
the release and production of their own documentary ("AUX88-Portrait of an Electronic Band"), the group celebrates its
now classic recordings. Harkening back to its first days on cassette tape to revive a future generation of vinyl
aficionados. AUX88's "Bass Magnetic" = Classic Detroit Electro
Review: Back in 2015 the Die Wild Jagd project debuted with "Morgenrot", a digital-only single rooted in synthwave. Four years on the track returns, only this time the Berlin-based outfit's original version is not present. Instead, Minimood has treated us to a triple-pack containing no less than ten different versions. The first plate begins with a spaced-out, semi-acoustic take from Fangschuss, before in turn touching on pulsing early morning ambient (the Vactrol Park mix), dense post-punk heaviness (the Ancient Methods remix) and moody new wave (the KVBremix). The more club-focused techno revisions can be found on the second 12" - Roman Flugel and Steve Bug's pitched-down revisions being our picks - while the final slab of wax boasts two lengthy dub techno and abstract ambient interpretations by Detroiters CV313 and Variant.
Review: Berlin-based British producer Joe Seaton dons the Onno Fudd alias once again, following up a couple of releases on Will Bankhead's The Trilogy Tapes label - namely 2016's terrific Blue Dot EP. Five deep and meditative cuts that merge classic house/techno flavours with IDM and ambient aesthetics - all with a modern experimental twist. We are loving the floaty and entrancing drifter that is the title track, the driving EBM style arpeggio that is central to the epic groove of "Joyride To My Inside" and the hypnotic heads down bounce of "Earth Queen Voice". On the flip, he even dons his more popular Call Super alias for the Rhythim Is Rhythim-ish vibe of "The Mess".
Review: We're not sure who's behind the mysterious AC-EXP project, but the shadowy figure returns with more of that strange, submerged house music he's been tickling discerning DJs with over the past few years. After taking last year off, "1A" is a fine place to start things up again with a strutting jack track carrying acidic synth pulses that flirt with measured delay processing. It's a jam that sounds steamy and sinister all at once. "1B" maintains this restrained but seductive vibe with the slightly trancey throb of the lead synths pivoting around the snappy drums to great effect.
Review: 2MR is a curious label, indeed. For starters, its founders Mike Simonetti and Mike Sniper have released just about all sorts of electronic music on it. The second release by Russian artist Kedr Livanskiy is just as nutty as her debut, except that this time we have even more sound experiments to play with. Mixing up lo-fi techno through the likes of "Razrushitelniy Krug" or "Winds Of May", together with grainy shades of house on "January Sun", and even broken-down echoes of post-hardcore with "Otvechai Za Slova" the artist has managed to create a truly captivating record, and perhaps also one of the freshest and most daring pieces of music that we've heard since the turn of the new year. Warmly recommended.
Review: Neil Landstrumm began his solo production in 1993, influenced by the Sheffield school of bleep as well as electro and Miami bass. His unique sound soon caught the ears of a wide variety of the world's finest electronic labels - going on to record for Tresor and Planet Mu among others and he remains one of the scene's innovators. Featured here are timeless classics such as "Takks" or "Sniff & Destroy" which nailed that similar kind of minimal funk that label mate Daniel Bell was creating at the time, through to the bang and clatter of frantic jams like "Swing/Jerk" and "Blam The Target" (Inhabit The Machines) which are still a true zeitgeist of early '90s UK techno.
Review: After a 2018 dalliance with ESP Institute, Andrea Mancini AKA Cleveland returns to John Talabot's Hivern Discs imprint with his most expansive and ambitious release to date. Stretched across two discs, the tracks that make up "nDSi" are notably more starry and spaced-out in approach than some of the Brussels-based producer's previous releases. There's much to admire from start to finish, from the sci-fi electro shuffle of "Polar" and deep space techno bliss of "Noord", to the sparse analogue notes and off-kilter IDM rhythms of "6IX". Other highlights include the breezy, Space Dimension Controller style ambient techno of "Govlin" and the broken computer vibes of bleeping closing cut "NDSi".
Review: Over the last couple of years, Aussie Katie Campbell has delivered a string of well-regarded EPs and 12" singles steeped in retro-futurist flavours. Here she delivers here most expansive release to date, a double-pack that officially counts as the Roza Terenzi debut album. Her usual aural trademarks are all present - think deep bass, dreamy synths, fluttering electronic melodies, euphoric melodic motifs, breakbeats and bustling beats that are anything but conformist - alongside nods towards turn-of-the-90s techno, weighty electro rhythms and snappy, ghetto-house inspired workouts. It's undeniably a Roza Terenzi release, and there's enough variety - coupled with smart sequencing - to make it hang together as an album. Oh, and bass-heavy, Bleep-inspired closer "My Reality Cheque Bounced" is one of the best things Campbell has released to date.
Review: There's a delightfully celebratory feel about this debut volume of Cititrax Tracks, a new 12" series from Minimal Wave offshoot Cititrax. As beautifully presented as we've come to expect, Tracks Volume 1 boasts a quartet of dancefloor-ready smashers from a blend of new faces and label stalwarts. Amato (aka The Hacker) kicks things off with the glistening EBM funk of "Physique" - all restless synth refrains and pounding bottom end - before LIES affiliate Tsuzing go all dark, psychedelic and twisted on the thrillingly intense, acid-flecked "King of System". An-I go all DAF (with a touch of Front 242) on the fuzzy and dystopian stomper "Mutter", before Cititrax regulars Broken English Club delivers a storming chunk of industrial-tinged analogue funk ("Glass"). Bravo!
Review: Cititrax's first Tracks 12" sampler did a good job in showcasing material from some of the Brooklyn-based label's favourite contemporary producers. This follow-up, arriving only a few short months after the first, aims to do the same. Returning for his second appearance, Tsuzing kicks things off with the razor-sharp shuffle of "Nonlinear War", whose intoxicating electronics and wild synth lines recall Brown Album-era Orbital, before London-based L/F/D/M takes a trip into bleak techno territory with the acid-laden "Mouth Holes". Flip for Silent Servant's deliciously grandiose, muscular electro-disco workout "The Touch", and the clanking industrial percussion, EBM attitude and humming electro beats of Maelstrom's "Lithium".
Review: BOOM! Our favourites, Cititrax, roll the third editions of Tracks out onto our shelves, and the results are unsurprisingly strong on this excellent various artists comp. It's a mixed bag of skills, as per usual, and the sounds are those of a new NYC, fuelled by a new sort of post-industrial sensibility. Amato Y Mariana open with the tight beats and groove of "Queires Bailar", followed closely by the ominous compositions of the EBM-flavoured "Montgat" from The Sixteen Steps. On the flip, His Dirty Secrets bleeps out some morphed acid on "Structures", and "Another Stranger" from Further Reductions churns out a slow, mild-mannered house experiment with its roots clearly planted in the coldest of waves. Sick.
Review: ** Repress ** If you've been keeping abreast of all things Minimal Wave this year, you'll probably have picked up on Veronica Vasicka hinting at a forthcoming split release from Silent Servant and Broken English Club, the new project from UK techno man Oliver Ho. We've certainly been eagerly awaiting it her at Juno HQ and it's great to see Violence And Divinity live up to and surpass these expectations! Silent Servant mans the A Side with two tracks that will be familiar to anyone that's been lucky enough to catch his live sets of late, indeed it's almost too easy to visualise the flashing strobes as the pummelling EBM lines of "Cut Unconscious" unravel and beat you down. The two accompanying productions from Ho's Broken English Club dovetail nicely, but veer off into more wave orientated territory, with "Divinity" sounding quite like some of the earlier material put out by In Aeternam Vale. In a word superb.
The Sixteen Steps - "Signals From The South" (6:28)
The Sixteen Steps - "Promises On The Run" (7:17)
Review: Rampant and 'up for it' as usual, the Cititrax label is back with a new set of wayward technoid experiments for the more trained ears on the dancefloors. This time it's Romania's Borusiade and newcomer The Sixteen Steps who share two sides of a wax plate and, of course, proceed to annihilate any idea of a quiet night in. The former sets off with the mechanical acid bumps of "Infatuation", guided by an eerie set of vocal blurs, and that's followed by the comparatively more beat-centric techno of the apocalyptic "Confutation". On the flip, The Sixteen Steps first lands on "Signals From The South", a house banger with noxious levels of mutant bass at its core, followed by the single-minded industrialism and sheer techno brutality of "Promises On The Run". WOWZAH!