Spectrums Data Forces - "Darkness In My Head" (6:04)
EC13 - "Profundo" (Interludio) (0:49)
Wicked Wes - "X1000" (feat Space Frogs From Saturn) (5:48)
Review: Granada's Cosmic Tribe know the definition of "electro" in its broadest sense; their new Xtrictly Electro comp keeps the dystopian sound endemic to the genre's most present incarnation, but refuses to restrict itself to one tempo: the standard 130-ish that has sadly infected the otherwise genius genre as a necessity. An international splinter cell of spec-ops and mercenaries are recalled from retirement here, as we hear Calagad 13, Nachtwald, EC13 and many more mechanoid ilk lay down all manner of slick utilities, making up a morbid multi-tool. 5zyl brings further lasery Lithuanian steeze on 'Vilnius Bass', whilst Spectrums Data Forces betrays the existence of a sinister corporate entity, whose business model works towards the object of instilling 'Darkness In My Head' through giant, killer mozzy basses.
Review: The Spanish Hypnotic Collective label attempts to capture its take on the Detroit Legacy with what looks like a new series of various artists' EP. There is plenty of Motor City soul in the gorgeous synths of Cignol's muted acid and deep house opener 'Distance' which is a soothing and reverential groove, but then its pure party from Barce, Alex Martin offers up 313 style tech and three further tunes on the flip explore blistering electro with high-speed funk and cosmic intent. Mission accomplished and we're already looking forward to the next one.
Review: Neil E and Big City Bill's latest doubles as the second offering from Spincycle, yet another a split 7" single on 180g vinyl. The twins' journey began two decades ago high up in an unnamed mountain range, where they met, after which they descended onto the city in search of purpose. Thus spake Zarathustra: down below, they toiled away in dimly lit garages, decoding mysterious symbols cast on walls by home-gaffed fluorescent lights. At first, their work seemed like madness, but there comes a time in every madman's life when toil leads to breakthrough. Thus were sowed the two fine harvests you hear here: 'Dry Rub', with its tugging taut sound design, and 'The BBV', a mistier firmament of altitudinal unknowns. No need to map out the terrain first - just give in to your ears.
Review: Nene H pays her respects to three cities that have shaped and inspired her with three very different tracks. 'Ring the Siran' salutes Istanbul with a salvo of hard-edged minimal firepower and filtered voices opening and closing across it. 'Fukken Lie' features spoken words by Nik Mantilla about the Berlin scene in which she operates, again hard but with a more relaxed, spacious vibe. 'Hold Ud, Skat!' pays homage to the Copenhagen scene - "the city that adopted the lost child in Nene H and inspired her" - with an irresistibly rubbery bassline and static techno stabs. Who says the harder end of techno needs to be grim? This is quite the opposite - tough but lithe and very, very lively.
Review: Owen Ni invites us on a sonic exploration with this ten-track release, a journey through the realms of ambient electronica and deep listening techno music. 'Beyond Flyhigh' sets the tone, its expansive soundscapes and hypnotic rhythms drawing the listener into a world of introspection and wonder. The Raytek remix injects a pulsating energy, transforming the original into a dancefloor-ready odyssey. Elsewhere, tracks like 'Mover' and 'Arqs2600' delve deeper into hypnotic textures and intricate sound design, creating a sonic experience that's both arrestting and thought-provoking. 'We Are Here' and 'S7lverbox' offer moments of quiet contemplation, their delicate melodies and atmospheric soundscapes inviting a sense of peace and reflection. The release closes with 'Epilog', a fitting conclusion to this immersive journey through sound and emotion, leaving the listener with a lingering sense of wonder and possibility.
Marjan - "Desert Of Heart" (Ramtin Niazi rework) (4:35)
Artoush - "The Curse" (Ramtin Niazi rework) (4:22)
Review: Today's Youth is a collection of Ramtin Niazi's reworkings of some of Iran's best loved songs. Here the Iranian artist - and key component part of such storied Persian rave music groups as Ben & Jerry, Kahkli Cru and 1000PA - breathes fresh, shape-cut life into the music of Googoosh, Kourosh Yaghmaei, Marjan and Artoush, refitting them for the abandoned warehouse rave. This is a real eclectic record, taking after well-established dance styles like speed garage, jungle, and dembow, but each track is nonetheless arranged with a gauche left hand, so gauche as to abstract each one from its stylistic reference point enough to sound lytic: unmoored from any total obligation to their origins, be they Iranian or Western European.
Imaginary Time (Gesloten Cirkel Keep Playing remix) (6:30)
Imaginary Time '99 (Revolutionary Industrial Trance mix) (14:48)
Review: Acoustic instruments played by Charlotte Bill, "disarranged" by Nigel Ayers, Nocturnal Emissions' Imaginary Time is as much of a landmark as it is a total obscurity. The album title itself references a theory prevalent in some approaches to special relativity and quantum mechanics, a representation of time also used in certain cosmological theories. It's not made up, or unreal, but expressed via imaginary numbers. We can understand where Nocturnal Emissions were coming from with this record back in 1997, then. A strange, beguiling percussive experiment that's at once linear and yet pretty obscure. Here presented with two incredible remixes - Gesloten Cirkel's pounding but fun techno take on things, and the misleadingly-titled 'Revolutionary Industrial Trance mix', a slow building amalgamation of drums and vibe - this is strange yet totally accessible business.
Review: Ever reticent contemporary ambient techno artist Nthng shares 'Two People', their latest EP to hit the shelves. Building on their always wordless sound - one native to a certain "mysterious" corner of the techno world, one that implies that words are insufficient in capturing both breadth and depth of sound - 'Two People' is a minimally stirring EP, one that relies on the bare associations of just two visual indicators of theme: snow, unity. Imprinted on the planar white surface shown on the front cover is a lowercase trace of the title track, which, in sound, hears a vocal recollective of a baby's gurgle, and a lonesome pad lilt that only ever so much as teases a movement, ghosted by the absence of (and so haunted by the promise of) a beat. When beats do interpellate the scape, they do with the textural quality of stalactites, breaking and dropping to the floor in step on both 'Echo Trak' and 'In Statik'. Nthng's filtrated percussion and long-release tails serve to dust the surface snow off many ambered, glaciered memories, preserved in the unspelunked caves of an antarctic psyche. Closer 'Don't Be Scared' plods forth, steppers style, with the stridency of an epiphanic polar walkabout, its swells contrasting to the many radiophonic FX peppering the mix: they give the sense of the odd "do you read me?", grounding the far-yonder miracle pads in telecommunicated reassurances from the outpost.
Review: Rave Or Die recently minted a new series called Raverbreakerz and now it squeezes out another one just in time for the silly season. Again featuring five electrifying tracks, this one is all about powerful rave, techno, breakbeat, and dark, doomy hard sounds crafted by skilled artists Mental Fear Productions brings some savage synth textures to 'Final Bastion', Tripped builds wall-rattling drum foundations on 'Spank' and Nite Fleit's 'Disillusion' is a writing blend of slamming kicks and tortured leads. Whether you're a seasoned raver or a newcomer, these bangers promise to ignite any set with musical menace.
Review: Russian avant-garde sculptor namesakes Naum Gabo, AKA Jonnie Wilkes of Optimo and mastering engineer James Savage, drop their inaugural album, 'F. Lux.' The pair delve deep over eight tracks of cavernous ambiance, pummeling industrial techno and barren, windswept synthscapes, which are perfectly alluded to by Scottish painter Andrew Cranston's surreal artwork. In turns introspective and oppressive, the pair ditch their usual stylistic sensibilities for something altogether more longform and enveloping, allowing for full immersion in the cavernous soundworld. Highlights include opening wormhole 'Aora' and the deeply tense grindhouse resonances of the aptly named 'Hebust Cometh'. Wicked and bad.
Review: Istanbul born, Berlin and Copenhagen based artist Nene H (real name Beste Aydin) had amassed a hardcore following for her slew of early releases. She then finally came good on all her promise with a debut album that blended bass, techno and plenty of her own cultural heritage. Ali arrived in 2021 but only now lands on wax via Incienso. It's an album that processes personal grief and mourning with melancholic melodies, moody grooves and introspective soundscapes that allow for deep thought processing. At times psyched out, at others manic, and always alluring, it's a real triumph.
Review: Nina Kraviz's trip label is one of the most unique in techno. It's a hotbed for the more experimental producers out there and often drops punchy sounds that draw on trance, IDM, rave, electro and plenty more. Nocow is next up with a double album that unfurls at a high speed and is packed with freshness. 'Eno Ne To' is marbled with trippy melodies and spoken words, 'Hyperloop' is as the name suggests warp speed and hypnotic and 'Redaktor' is another soft and grey blend of supple drums, bass and day-glo synth lines.
Review: Astoundingly unusual broken techno experiments from LA's Nomadico. The digital version of Shards is glassy as much, cracking the otherwise unbreakable mirror that is the normative album format with over 30 mixes. The vinyl version here picks up the pieces, selecting among them the best on offer, spanning various motifs from styles such as acid to broken beat to fuzzy techno. A veritable set of dispersive sonic prisms, these broken-off vitreous vestiges recall a cybernetic fusion of the styles of FaltyDL or Legowelt; but in all frankness, these kinds of comparisons ultimately fall flat, since the aim of the record is to cultivate and encourage the act of cultural reconstitution, breaking from established signifiers. In Nomadico's own words, "culture has since been shattered into shards that must be reconstructed, reshaped, remixed and reconnected. A truly nomadic statement.
Review: Portugal's powerhouse Hayes welcomes back Norbak for more low-end work that comes with plenty of intricate designs, exquisite synth work and rhythms that veer from club-ready to sound system-suited. 'Rosna' sets the tone with shimmering percussive loops and twisted electronics that ride a nice wooden, swinging groove. 'Capital (with Quelza)' is intense and pent-up techno funk, 'Grego' is a lovely broken beat workout and 'Sobreposto' is a minimal hypnotiser with a mystic atmosphere. Superbly designed stuff.
Review: Noreen is a cult name for those who know - a producer who had his own unique take on minimal and dropped some real low-key classics. Nearly two decades after its initial release, his album Our Memories of Winter now gets reissued so you can relive its blend f early 2000s electronica with Norken's unique mix of minimal techno, house and British IDM. Featuring all 12 original tracks, plus the inclusion of 'Df23' and 'Flirt', this is the first complete vinyl version of the album. Lee Norris's sound evokes nostalgia and warmth with atmospheric emotional techno. Influenced by luminaries like John Beltran and Autechre, this one remains a real gem.
Review: There are few borders to NTHNG's sounds. His debut album 'It Never Ends' made a big impression back in 2017 as it mixed up dub, deepness and techno and he has since impressed with plenty of lo-fi sounds and ambient bliss-outs on labels like Lobster Theremin and Lobster Sleep Sequence as well as dropping his more raw techno Delsin. Here he is in soundscaping mode again but also drops some slick electro, downbeat and Balearic sound on There Is A Place For Me on Transatlantic. It is a cosmic work of widescreen design and immersive effect.
Review: During the early-to-mid 1990s, Nurmad Jusat released a string of now sought-after singles on Likemind that showcased an emotive, far-sighted take on techno that still sounds timeless all these years on. This fine collection features various recordings he made - but never released - as Nuron and Fuge back in 1993 and '94. As inspired by the techno sounds of his native UK as the far-sighted brilliance of purist Detroit techno and the dreamy soundscapes of Larry Heard, it's a genuinely brilliant collection of long-lost gems. Our picks include the subtly clonk-influenced opener 'The Coded Message', the skewed deep electro shuffle of 'Another Way', the sci-fi techno brilliance of 'Contrapoin (First Version)' and the out-there ambient soundscape that is 'Dialectic Confusion'.
Review: Do we really want to know What You Should Know About Yourself? There's a high chance we find out something we don't want to hear but alas, the NX1 duo poses the question anyway across a broad selection of techno sounds on 11 different tracks. The moods are often introspective and provide an opportunity to get lost in deep thought and challenge yourself. The dramatic ambient start makes way for crunchy drums and fizzing synth disruption on 'Based In Lies', then dark and hard drums define the monstrous menace of Polarized Soul' and industrial clatter brings the heat on the militant and marching grooves of 'Cosmos Inside You.' A fierce album of uncompromising techno.
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