Review: When Eric Prydz fancies offering up some forthright, warehouse-ready techno, he fires up the Mouseville label and dons the Cirez D alias. Clearly, he's in a rave-igniting mood right now, because this two-tracker is the first Cirez D outing - and Mouseville release - for almost two years. There's a definite "massive room" vibe emerging from A-side "Valborg", where decidedly foreboding lead lines and ghostly chords ride a chunky, Drumcode-friendly techno beat. The saucer-eyed, hands-aloft "festival techno" feel continues on flipside "The Raid", which cleverly peppers a house-tempo rhythm track with the sort of raw, razor-sharp riffs more often found in neo-trance productions.
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: There's been plenty of online chatter about the confrontational title of Omar-S's latest full-length outing, and arguably not enough focus on the music itself (or the fact that the guest list contains Rick Wilhite, Norm Talley and OB Ignitt for that matter). This is unfortunate, because as usual Alex 'Omar' Smith has hit the spot. The six untitled tracks are impressively varied, with Smith effortlessly moving between 21st century P-funk (track one), cowbell-powered deep house funk (track 2), sparse and synth-heavy acid house hypnotism (track three), disco-house jack (track four), sub-heavy Detroit-meets-Sheffield minimalism (track five) and sunrise-ready dancefloor dreaminess (track six).
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: With previous releases from some of the top heads of the electronic spectrum, including Leif, Steevio, Arnaldo and more, the imprint UntilMyHeartStops returns with its latest release, this time for mysterious producer Ekeko. Rich analog tape waves sit nicely beside thick 909 rhythmic elements throughout this killer three tracker. The title track "Beyond Good & Evil" starts things of with strong spirit, taking pulsations of warping synths and balancing them with hazy club driven patterns. This theme continues through "FM Joy" and "Eye Ache" but with a wider focus on the dubbier elements of the electro and house spectrum.
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.
Review: Nereid appears out of the techno mists on the newly minted Warped Core label shrouded in mystery, with subtle monochrome head twisters to match. "Umea" leads the charge on the A side with an ethereal trip into dubby soundscapes filled out with plentiful reverb and pattering rhythms to snake straight into your cerebellum. "Operator" has an instructive bass throb carrying it along, although it imparts a similar steely aesthetic to the opening track. "Neptune" is no slouch either, using nagging mid-range percussion and eerie bleeps to spell out stern, functional techno of the deepest kind.
Review: REPRESS ALERT: Needs is back with its fifth installment of charity-raising goodness from some seriously quality producers. This time the gauntlet is thrown down by the increasingly prolific DJ Normal 4, who wields some of his signature breakbeats over a cheeky synth that nods to Da Hool for a dark and deadly roller. Israeli duo Red Axes pop up fresh from outings on !K7 and Phantasy Sound for the worldly percussion and mystical atmosphere of "Treacksheni" before Bristol bass-wielding techno titan Hodge finishes the package off with the stunning, dramatic undulations of "Signal," making this a collection of tracks that all feed into the same vein of rhythmically adventurous, moody club music.
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: Itokim, aka Tendo-based producer Takuro Ito, aligns with DJ Bone's Subject Detroit label with the Subject Japan: Rhythm Poems EP and his opening gambit certainly leaves a dent. "Motechnique" has been a staple of Bone's 3 deck attacks in recent months and it will have eyebrows raised and mouths open from the off. Weighty but warm kicks start as they mean to go on, bursting with pace and vigour as thrusts and stabs pinprick the brooding chords. The laidback, easy-going connotations of the title to "Roll Up and Shine" are very much the ethos and aesthetic of the production, as a playful, bubbling melody sets a warm and almost sugary tone from the off before being bolstered by a suave melange of full-bodied kick and dexterous percussion. Itokim rounds off his first outing on Subject Detroit with "The Mood Device", a to the point groover that melds elements of the previous productions to stunning effect. A genuine builder of a track with a straight and true trajectory, "The Mood Device" melds innumerable coatings of percussion and synth as stabs are layered and layered again, clotting and coagulating the composition in to one delightfully deep and multidimensional slice of formidable dancefloor composite.
Review: Earlier this year, Jeff Mills decided to don his occasional Millsart alias for the first time in 17 years, in order to release the fifth volume in the long-running "Every Dog Has Its Day" series. The Motor City stalwart is obviously in a rich vein of form, because he's now ready to serve up volume six, which at nine tracks deep is the series' most expansive release to date. There's much to set the pulse racing throughout, from the hybrid deep house/Detroit techno warmth of opener "Phoenix Rising" and the summery, sun-kissed tech-jazz of "What's So Funny", to the Robert Hood style Motor City minimalism of "Six By Six By Nine" and the classic, sci-fi-fired futurism of "World Wide Whoops".
Review: Original music from Vancouver based producer NAP has been intermittent on the electronic music scene, but now the Isla boss has finally dropped a 12" of deadly, textured and fresh-sounding electro for our bodies and minds. "Transhumano" features ZDBT and has all the hallmarks of Stingray-friendly future shock machine funk, but the particular approach to pads and melodies has a distinctive, moody slant that chimes with the hazy sound of Canada's West Coast. "Anestesia General" is another needlepoint, uptempo workout that packs layer up on layer of darting rhythms and blippy synth lines into the mix. "Sin Sistema" completes the set with a more subdued but no less detailed box jam workout.
Andrea Parker & David Morley - "After Dark" (8:51)
Review: Helena Hauff's distinctive musical vision has made her one of techno and electro's most unique and celebrated selectors, and it's this side of her work that's showcased on "Kern Volume 5: Exclusives & Rarities", a triple-vinyl set that focuses on the numerous hard-to-find and previously unreleased tracks featured on her new DJ mix for Tresor. As you'd expect the quality threshold remains thrillingly high throughout, with Hauff focusing on fuzzy and scuzzy heavyweight slabs of electro, techno, ghetto tech and industrial-strength hardcore. Amongst the unreleased highlights are tracks from Umwelt, Machino, Galaxian, L.F.T and her good self (alongside Morah), while crate diggers will note the inclusion of rarities from Esoterik, Andrea Parker and David Morley, and DJ Godfather and DJ Starkski.
Review: The mysterious Wilson Phoenix returns with another batch of muscular techno joints that'll wipe the floor with any half-hearted 4/4 pretenders. Considering how sought after his earlier releases are, don't expect this to hang around for long. The beastly 909 kicks on "Dorphin" would slot in perfectly with Head Front Panel's own blown out take on peak time rabble rousing techno, while the kick-clap sync on "Dexed" will get fists a-shaking. It's not all blunt drums though - there's plenty of peppy colour splashed all over this record to make it stand out from the crowd. This ain't no monochrome chugging business!
Review: After a break of four years in which he flirted with other labels - most notably Ekyspia - extended UR crew-member Mark Flash is back on long-time home Underground Resistance. As you'd expect, he hits the ground running with EP opener "Audiofluid", a suitably out there and intergalactic techno number high on sturdy, electro-influenced beats, foreboding riffs, tweaked acid motifs and some suitably sci-fi electronics. Flash next delivers a talbox-laden "Tuneup Beats" version for those who just want to revel in rhythm, before paying tribute to the warehouse-ready, late '80s KMS sound on retro-futurist EP highlight "Synthetic Bump". Rounding things off is "Liquid Drive", a fizzing and clattering affair that explores similar sonic territory as the fine title track.
Review: Back in 2016, legendary Afrobeat drummer Tony Allen approached techno pioneer Jeff Mills with the idea of working together. A series of live gigs and off-the-radar studio sessions followed, with the first fruits of their joint efforts finally appearing on this must-have 10". As you'd expect, the duo's collaborative work combines Allen's traditional Nigerian polyrhythms, traditional Afrobeat instrumentation, and the far-sighted, sci-fi inspired electronic futurism that has always marked out Mills' work. The result is a quartet of cuts that could arguably be described as retro-futurist Afro-tech - all delay-laden beats, basslines and organs subtly sparring with gentle acid lines, Motor City electronics, beguiling deep space textures and shimmering, 31st century motifs. It's arguably Allen's stylistic contributions that dominate, but that's no bad thing.
Review: It would be fair to say that Levon Vincent's latest single could well be one of his strongest yet - and that's saying something. We're particularly enjoying A-side "Drum Circle", a near ten-minute outing that subtly builds throughout. Creepy, clandestine and intoxicating, it sees Vincent cloak a hypnotic, cymbal and bells-heavy rhythm track with deep, booming sub-bass pulses and hard-worked, marimba style melodic loops. It's a genuine heads-down treat that packs a punch, despite its hazy and minimalist vibe. There's more atmospheric fun on the flip, where "Space Exploration" sees him conjure up a suitably dark, intergalactic mood via crackling drums, opaque chords and far-sigted electronic melodies.
Review: REPRESS ALERT: After launching Brush & Broom with two solo releases, maverick German producer Kalbata keeps his followers guessing yet again with this collaborative release with the equally unpredictable Maayan Nidam. "The Town" is a surefire party starter made up of catchy bleep lines, quivering rhythmic flashes and lots of shimmering FX sends that suggest this was a live jam from two talented producers locked in the groove. "Chrome Moon" takes a deeper, more meditative approach without losing those heavy echo chamber washes, where the spring reverb and buckwild delay feedback rein supreme. Wonderful, free-tripping results from an unexpected meeting of minds.
Review: For his first outing of 2020, Kyle Hall returns to the label he founded last year, Forget The Clock, with a suitably strong five-track missive. Check first languid opener "Shark", a splash around in crystal clear waters where simmering chords, luscious pads and glassy-eyed melodic motifs stretch out over bubbly, Latin-tinged drum machine beats and a dubby bassline. Hall makes bolder strides towards the dancefloor on lo-fi house cut "Vexed", before doffing a cap to Larry Heard and Ron Trent on the gorgeous deep house positivity of "Distant". Elsewhere, "Slam Deep" joins the dots between Steve Poindexter and the 2000 Black style of jazzy broken beat, while "Channel & Transmission" is a skewed skip through wonky deep house/jazz-funk fusion.
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: Anyone who has caught Helena Hauff in action will excitedly tell you that she's one of underground electronic music's top DJs - a mixer who combines top-notch technical skills with an exhaustive knowledge of music to deliver distinctive sets that set her apart from the crowd. It's for this reason that her contribution to Tresor's "Kern" mix series has been so hotly anticipated. Having now given it a listen, we can confirm that the two-disc mix-up is every bit as good as we'd hoped, with Hauff surging through a breathless, 32-track selection built around scuzzy, fuzzy and forthright slabs of electro, techno, ghetto-tech and industrial strength early UK hardcore. Piled high with rare, hard-to-find and previously unreleased tracks, it may well end up being the mix of the year by some distance.
Cage & Aviary - "Lean On Me" (Felix Dickinson Foolish dub)
Posthuman - "Make More Man"
Review: Just as the new football season settles into it's groove, the fourth edition of the highly collectable Rothmans arrives sporting some high profile signings! Leading the way on The Claudio Gentile Release is a Foolish Felix dub of Cage & Aviary's "Lean On Me" whose deranged acid gurglings provide a nice contrast to the thrusting Escape From East London stylings of Posthuman's "Make More Men". On the flip Ali Renault returns for Rothmans duty with the Weatherall worthy "The Black Heart" whilst Iron Blu is loaned from Flight Recorder for the synthy swamp of orchestral drama that is "Oiche Shamhna"
Review: Welcome to Saike, a new French label that debuts with a collaborative project from Hadone and Shlomo. As Viper Diva the pair brings together their disparate respective backgrounds into brain frying new forms that are part techno, part rave, part trance. Particularly on the thrusty opener "Born To Be Slytherin" (Tbilisi mix) which is an all out assault with bright chords and menacing drums. "En Y" is a frosty and frozen affair, while "Hold Me Back" is a retro white knuckle ride through hardcore techno. "Cold Heart Prediction" closes at 100 miles an hour, with no prisoners taken along the way. This is high octane stuff, for sure.
Review: Carl Finlow, aka electro main-man Silicon Scally, originally released the Boot Loop EP on Billy Nasty's Electrix label back in 2013 - an aeon ago in real terms but a blink of an eye to any electro devotee. Such is the quality of the music that it's well deserving of a repress, not least given the fearsome appetite for this kind of electro now compared to seven years ago. "Conduit" and "Hashtag" are quintessential Finlow cuts, wriggling and writhing with snappy sound design riveted to the machine funk rhythm section. On the flip, Volsoc's "Orange Problem" mix of "Conduit" slips a few more melodic elements into the mix, and Radioactive Man flips "Hashtag" into a gnarly, noisy workout bowling in from leftfield.
Review: Transparent Sound label boss Orson Bramley steps up to his long-standing imprint with a new guise, Empty Orchestra, which showcases yet more of his crafty, delicately executed take on electro. "Nervouse Smile" is an impeccable study of the style, loaded with intricate machine funk elements from twitchy drum programming to ethereal pads, and of course a healthy dose of funk for good measure. As well as the original version, there are additional remixes courtesy of rising stars Acidulant and Alero May, the latter of which has an especially infectious bassline ripple and some smart key change moments for a dynamic end result.
Review: For the next instalment in WSNWG's collaborative saga, Rodhad welcomes UK Techno constant O (Phase) to the series. After productive sessions in the East-Berlin studio which lent its name to the label, the duo came up with a set of diverse techno tracks ready for anyone's bag.
Review: Donnell Knox and Mark Hawkins, better known as D-Knox and Marquis Hawkes respectfully, team up for a collaborative EP on Sonic Mind that speaks to their respective roots in underground techno reaching back to the 90s. "Kalamazoo" is a tough and clattering jacker with out-of-phase organ lines to send your mind spinning, while "Not The DX100" brings things front and centre for a comparatively direct, acidic workout. "Halfway" ramps up the melodic content as a displaced vocal celebrates Kalamazoo's location between Chicago and Detroit, and then "Just Let Me Go" completes the set with a tough and bumping vocal house cut.
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: 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: "Following up on the excellent 'Stabbed in Konya' EP for Peur Bleue, SORN welcomes Gohan to the fold. Three tracks of dystopian techno for the heads, plus a Boddika-esque remix from newcomers Ikpathua & Paterson. Recommended."
Review: It's taken a while, but finally SUED co-founder SVN (real name Sven Rieger) has delivered a debut solo album. Ominously, the accompanying release sheet only features the following words: "the end of an era". Perhaps we'll find out more about what that means in future; for now, we can enjoy "Mechine", because it's as strange, off-kilter, inspired and involving as we've come to expect. Rieger's analogue-rich sound takes elements from a number of styles and sounds - acid, ambient, electronica, ultra-deep house, mid-90s IDM, ghetto-tech, weird slow jams etc - without fully embracing any. As a result, "Mechine" is quirky and curious, but also full-to-bursting with leftfield gems that will variously soothe, seduce and surprise the senses.
Review: Monnom Black welcome back Fractions for more of their sonic disturbances, will acid and rugged techno weapons. For those who like hard edge, brain frying sounds with an instant impact these are perfect tunes: "NITE NRG" has a prowling synth and dystopian vibe that is impossible to escape, while "Do You Believe" is a twisted and distorted techno stomper that will make your fists and teeth clench. "All The Streets Are Silent" sounds like it is straight from Wipeout in the original Playstation console and "Hive Mind" then explodes over and over with maximal drums driving it along.
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: The resurgent Transparent Sound outfit (made up of UK electro veterans Orson Bramley and Martin Brown) have been riding high since their classic "Punk Motherfucker" got picked up for a reissue from Pressure Traxx, finding favour with the Club der Visionaere set. They're back on their own label with a rich and plentiful EP loaded with robotic box jams, leading in with the dark and seductive body popping beatdown "What Is Your Name?". The vocal mix is killer, but there's also the added bonus of an instrumental take for those who prefer a pure machine sound. Acidulant also steps up with a blinding remix that does a great service to the original, threading some seriously nasty synth wriggles and wobbles into the mix.
Review: For the sixth release on Final Chapter, Sean Dixon provides three tracks of warm and precise electronic sound complimented by a very deep and full remix from Analog Solutions label boss and director of the electronic music documentary "Beatz," Eduardo de la Calle.
Opening with Yearning and deep feel with Dixon?s trademark scattered percussion building layer by layer as the bass tones are modulated, he weaves then a complex emotion with pads and melodies. Continente takes things more towards Detroit based territory. Definite dance floor action with percussive whistles, as keys and pads seem to meld playfully throughout. Eduardo de la Calle?s take on the same track, drops things back towards the deep, with feeling of pressure and density punctuated with waves of sci-fi sound that give the feeling of being in some kind of great machine, floating in deep space. Roots of Funk provides a very danceable track using vocal samples within the music to put across a more serious idea, as synth piano?s gently echo into the distance and horns gently swell over the track.
Review: To mark the 50th release on his now 20-year-old Neroli imprint, head honcho Volcov has asked friends and label artists to deliver "heart-warming melodies and atmospheric songs" that in some way draw inspiration from the Brian Eno piece after which the label was named. It's a neat idea and one that has resulted in a string of superb pieces, many of which sit somewhere between ambient, new age and the "Fourth World" work of Jon Hassell. Highlights include - but are no way limited to - the eyes-closed jazz guitar solos and deep space electronics of Gerald Mitchell, Volcov and Pirahnahead's "Snow", the sun-bright bliss of Patrice Scott's "Untitled", the fretless bass-sporting cinematic rush of Kirk Degiorgio's "Leave Everything Behind" and the ultra-deep liquid techno that is Fred P's "Star Crossed".
Review: The third Skudge album is here. Dedication to details, attention to structure and a tireless pursuit of that specific and circular sound. The contextual element of 'Time Tracks' seem to be placed in-between the most cordial music that Skudge has presented up until now, as well as bridging the singularity and adrenaline from the previous albums and EP's.
Review: Marco Pellegrino is Ancut, and here he make his debut on Wicked Bass with more fresh cuts that show off his ever evolving style. His opening statement is a strong one that finds him making his machines really dance - the drums are bumpy, the pads soulful, but there is a lithe looseness to the whole thing that stands it out. After "Sinergia", "Renaissance" is a more wonky late night tech house workout with twisted pads and spinning hi hats underpinned by double kicks. Innershades remixes with a slick Chicago energy and analogue hits, then "Stasis" trips you out with bubbly acid lines, smeared pads and the sort of dreamy emotions that capture your imagination at 4am.
Review: For the debut of New York's anticipated Purple Trax label, a new formation of key players in Brooklyn's underground debuts with an EP sure to entrance fans of L.I.E.S., White Material, and other established NYC labels. Composed of Terekke, local DJ/producer Jan Woo, and Erez Avissar, label head and founder of the respected Weird Magic parties, Wabi Sabi's dusky and diverse sound comes from its origin in loft jams, but tracks like the closing 'Rx' with its powerful dub techno framework show the work of seasoned talents. Patricia's cameo on 'Casper' is the record's strangest sound, a propulsive house groove with explosions of crackling texture and a bassline deeply buried in fog, while 'Babi' stutters along between the drum pulse and its disappearances into deep wells of delayed vocal samples and gentle melodies. Vibes are saved for the opener 'Moon River Membrane', where Terreke's characteristic cosmic haze comes out more heavily, complemented by the genre-bending psychedelic tendencies of Avissar's programming and Woo's weighty low-end.
Review: Nite Fleit has had a barnstorming couple of years with drops on Planet Euphorique and Unknown To The Unknown, a team-up with Mall Grab on Looking For Trouble and now this rabid electro stormer on Helena Hauff's Return To Disorder label. Compared to some of the grungier, punk-inflected electro you'd expect to find on the label, this is bright, bold, big-room stuff with plenty of ravey motifs to move large masses of bodies. "Empty Nest Syndrome" is hyped up to 11 while "Naive" pivots around a hard as nails electro beat. Watch out for the mad arps on "Can't You See" and "Rebel Faction" too - they're gunning for your cerebellum and you should take heed.
Review: The Swedish techno hero Eric Prydz is back under the Cirez D alias, which has kicked into action full throttle recently - alongside music under the Pryda and ToNjA Holma monikers. His new main room thumper "Dare You" comes courtesy of his own esteemed imprint. From the title track and its tunnelling adventure down into the vortex, to the strobe-lit adrenaline of "The Glitch" or "Black Hole" with its druggy mid-noughties style of minimal shuffle: there's something to rock the dancefloor at any time of the morning by this A.M. expert - on Mouseville's 24th vinyl edition.
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.
Jared Wilson - "Lynnwood2 Northgate Transit Center" (6:39)
Sohrab - "Sinking" (6:42)
KCLF - "Reloaded 9615" (4:17)
Review: Undersound Recordings hit release number 15 with a various artist EP that packs four vital techno punches. Audio Quest's "The Mental Screen" kicks off with some old school techno that recalls the sound of legendary Dutch label Djax-Up. It's filled with metallic snare sounds and deep space bleeps. Jared Wilson of course brings the acid that has defined his output for years, and Sohrab get busy with a kicking number and some busy melody patterns. KCLF closes out with twisted bass and shiny chords that look back to go forwards with "Reloaded 9615".
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.