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: 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: **REPRESS** Another album from the amazing mind of Heinrich Mueller (aka Gerald Donald). Originally released on DJ Hell's Gigolo label and apparently only licensed after Gerald crashed Hell's BMW and had to come up with a means of paying him back. All the tracks first appeared on the very obscure Dataphysix imprint from Detroit, with some releases only reaching the 500 copy mark. Now brought back to life for 2007, "Gesamtkunstwerk" could be one of the best electro albums ever made. Yes that's right, I said it...the best ever! This is almost as important for the techno generation as Kraftwerk's "Computerworld" and "Autobahn" were for many in the 80s. The tracks are all pretty simple, made up of only two or three analogue instruments each, but they seem to hold these timeless melodies that you can never tire of. Other moments are eerie, menacing and downright strange, but still pure genius. You know how a lot of the time when you buy a new record it becomes your favourite for a while, and then it starts to lose a little life? (Of course it's still good, but just not as fresh as the first couple of weeks when you listened to it on repeat). Well guess what? That doesn't happen with this record. I must have listened to some of the tracks on here over a 1000 times and they still send shivers down my spine. It's one of those special albums that just don't seem to age.
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.
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: Last year Victor Ruiz hit the headlines by signing to Drumcode - ample reward for a producer who had spent almost a decade building up his reputation via releases on a string of credible underground imprints. The Brazilian's second EP for the Swedish picks up where its predecessor left off, with Ruiz offering up a string of wonderfully weighty, full-throttle techno stompers tailor made for massive rooms and gargantuan festival stages. Our picks of a strong bunch include the bold bass and razor-sharp riffs of opener "Freedom", the more melodic, warm and sunny loop techno roller "Senses", and the buzzing, constantly rising techno/trance fusion of glimmering closing cut "Existence". If you dig Drumcode's rigidly defined brand of big room techno, you need this in your bag.
Review: When a white label launches from an artist called MPX with single letters for track titles, you know there's some serious techno incoming. This four track EP is brimming with rugged, street-tough energy; from the slapping drum jack and throbbing b-line pulse of opener "G" to the crunchy strut of "J." There's plenty of psychoactive flair to match the classic drum machine flourishes though - "L" has a wicked arp coursing through its veins, while "K" takes the same rhythm section and boils it down to a hypnotising whirl of techno perfection.
Review: When Braik made his debut earlier this year with an EP of retro-futurist breakbeat/tech-house/techno fusions, it was released on the most unlikely of formats: a CD-ROM. We suspect he'll get more praise and plays for this follow-up, which marks his first appearance on wax. There's much to enjoy throughout, from the chiming, acid-flecked deep breaks shuffle of opener "Breakund", to the funky acid bass, psychedelic electronics, creepy melodies and snappy house beats of closer "Jack O'Lantern". Sandwiched in between you'll the bold synth-string stabs, squelchy alien bass and jacking drums of "Intentos Fallidos", as well as the funky, sharply defined 21st century electro shuffle of "Buildin".
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: Alongside regular studio partner Andreas Baumecker, Sam Barker has released a swathe of admired singles and a couple of on-point albums on Ostgut Ton. Here he returns to the much-loved German imprint with his most significant solo release to date: a debut album of drowsy, sun-baked electronic positivity that expertly melds elements of hazy ambient, dub techno, off-kilter electronica and the classic kosmiche synthesizer soundscapes associated with Tangerine Dream. It's a lot less dancefloor-focused than much of his previous material, but that's not a criticism: indeed, the fact that it's warm, opaque and prioritizes fuzzy, slowly shifting musical movements is the album's greatest strength.
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.
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.
Solar Sound System - "K7" (Nemo Vachez Transcendantal dance mix) (6:38)
Solar Sound System - "CD-R" (4:25)
Jimmy Batt - "Magic Garden" (5:27)
PO - "On The Radio" (6:09)
Review: London-based label Opia turn their attention to Solar Sound System, who have a playful brand of electro to impart that manages to fuse kitsch '80s slap bass and classic sample stabs with immersive, expressive pads on the head-turning highlight "K7". Nemo Vachez does a great job of remixing the track before another original closes out the B-side - the pumped up roller "CD-R". Jimmy Batt pops up on the B side with the cheeky tweaking of "Magic Garden", and then PO rounds things off with the deep techno delights of "On The Radio".
Review: It's not all minimal techno in Romania, as the P-Balans crew ably demonstrate on this second release from local hero The Holy Fix. The synths come down thick and gloopy on "The Void" before "Slagwise" ramps up the horror tones with a perfect distillation of what makes a soundtrack pop off. This is nightmarish disco music in the vein of Maiovvi and the like, and it's delivered impeccably. There is a greater focus on club tones amongst the atmospheric FX on Tracks & Traps though, with "Quite Vicious" in particular conjuring up a thrilling, madcap romp through buffed up disco techno.
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: 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: 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: For the latest volume in his ongoing retrospective series "The Director's Cut", Jeff Mills has decided to offer us another chance to own his most iconic and celebrated track, "The Bells". All techno heads should know the 1996 original version that kicks off the EP, but if you don't, it's a stomping, heavily percussive romp rich in looped synth stabs and chiming melodies. Here it comes accompanied by the stunning version found on the "Blue Potential" DVD, in which Mills performed live with Montpellier Philharmonic Orchestra), and bonus cut "The Homosapien Sapiens", which appears to be a previously unreleased cut. While of interest, it's the version of "The Bells" that make the EP an essential purchase.
Review: Charitable acts carry more significance than ever right now, and Needs are on hand with another instalment in their brilliantly curated series to give something to those in need while also presenting some wonderful, exclusive music. This one leads in with a truly uplifting blast of sunshine from Telephones before dropping into the edgy, swinging tech-funk of Ciel's "Faye Wong Plays The Strings". Al Wootton is on point with another of his fresh and dynamic twists on the soundsystem blueprint, with a dubby, percussive vibe that should appeal to those who miss proper dubstep. Eliphino completes the set with a squashed and feverish garage thumper that sounds like it has an iconic vocalist chopped up somewhere in the signal chain.
Review: In the world of Tone Dropout, the rave never stops. It's this wholehearted 90s-inspired retro-futurism that makes their compilation style EP releases such a good listen. This ninth volume in the series packs a punch, with highlights coming courtesy of The He-Men (the trippy acid-psychedelia of saucer-eyed early morning workout "A-Train"), the weighty Yorkshire bleep and bass-meets-Italian dream house warmth of Ascot and WW's "Marelli Bleeps", and the deliciously quirky hip-house-meets-breakbeat hardcore-meets-acid bustle of Bufo Bufo's "Ectotherm". Arguably best of all though is Dawl's sleazy, alien and off-kilter acid-electro rub "Human Experiments".
Review: REPRESS ALERT: After appearing on Helena Hauff's Return To Disorder with the fiercely infectious "It's Alive!" 12", L.F.T. lands on Eye For An Eye with more gutter-bound sonics from the grungiest corners of the electro scene. There's as much noirish seduction as gnarly distortion going on throughout this deadly record, from the soundtrack steer of "Atomic Enigma" to the brittle minimal wave delights of the title track. Super punky and lo-fi in all the right places, this 12" once again confirms L.F.T. is one of the strongest voices dealing in DIY electro from the darkside.
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: While the cover may lead you into thinking this is another crucial cult drop from the forgotten '80s on Dark Entries, Sepehr Alimagham is in fact a contemporary cat operating out of San Francisco with a steadily swelling catalogue to his name. This album follows up a sizable EP for Berlin label Spe:c last year, and draws you in fast and effectively with its seductive brand of nightwalker electro. From the slithering drum machine beats to the artful reverb deployment, there's a tangible atmosphere Sepehr seems keen to draw you into - one where the streets are lit by flickering neon lights and disembodied voices echo down haunted alleyways. It's sinister, but not excessively gloomy - the kind of creepy electro that Dark Entries was built for.
Review: Richie Hawtin once famously said "Vinyl is a pain in the ass" but here he is doing it again as Plastikman on the physical medium. The last album he made as under his revered alias came in 2003's Closer, and more than a decade later he provides EX, a seven-track LP recorded live at New York's Guggenheim Museum for a special performance at the invitation of fashion designer Raf Simons. From "EXposed" to "EXhale" each track varies in the way it beeps, bleeps and gurgles with super sweet acid. Italo synths take over in "EXtend" and "EXpand", while basslines and kooky electronics similar to Yello rise to the surface in "EXtrude". "EXplore" is a track for the Plastikman devotee while "EXpire" and it's climbing synth will be sure to drive the many festivals Hawtin plays this year toward pandemonium. Plastikman is back!
Review: Ever the champion of brains and brawn in equal measure, Maceo Plex makes his debut appearance on Drumcode with this punchy beast of a single. "Conjure Dreams" features plenty of Plex signifiers, from the rounded and rowdy bassline pump to the haunting tone of the synth lines, neatly packaged in a chunky framework of big room drums. "Conjure Floyd" meanwhile burrows into more minimal territory where the tones are amelodic and the percussion takes the lead, calling to mind the restraint and tension of classic M_nus productions where so much could be said with so little.
Review: Italian producer Enrico Sangiuliano may have been serving up dark and intoxicating techno twelves for the best part of a decade, but never before has he turned his hand to the full-length format. Biomorph is not just any old debut album, either, but rather a concept album described by Drumcode as "a journey of evolution". In practice, that means an album that ebbs and flows throughout, opening with a dash of spacey ambient, before charging off on a trip marked out by pulsating techno rhythms (crafted from both straight 4/4 beats and breakbeats), spiraling electronic motifs, booming, elongated basslines, experimental electronic interludes and more future big room techno anthems than the contents of Adam Beyer's USB stick. In other words, if you love Drumcode's particular brand of bombastic techno, you'll love Biomorph.
Review: As UR continue to revisit some of their finest hours, the Detroit techno powerhouse stops on one of the most life-affirming of all their releases. "Inspiration" is as jovial as anything you can expect to hear from Mad Mike and co., motoring through a heartfelt lead synth line and fist-pumping disco undercarriage in truly anthemic style. "Transition" meanwhile is a freakier number, combining spiritual lyricism with a righteous bump of house dynamics fuelled by those futuristic melodies that define the seminal label. If you haven't felt the soul power of these timeless jams, do yourself a life-changing favour.
Review: The sixth installment on Malin Genie's self-titled label welcomes Will & Ink resident Yaleesa Hall into the fold. Regular collaborators Malin and Yaleesa have turned out plenty of joint 12"s in the past on Will & Ink and this very label, and they sound more comfortable and sonically aligned than ever on this mighty record. There's no messing with "Alpha Decay," a loose and lysergic dubby techno workout. "Tachyon" orbits a similar soundworld, but shears the fat away for a minimal palette that sounds powerful echoing around the ample space in the mix. "Muck" slips into freaky after hours house territory, and "Stocha" drops a massive Basic Channel dub techno chord around a whisper of a beat to devastating effect.
Review: One of the pleasing by-products of the recent electro revival has been the return of Aux 88, a legendary Detroit quartet whose armour plated, bass heavy take on the style made them one of Michigan's finest musical exports in the 1990s. "Counterparts", their first new album in ten years, is therefore big news. After opening with their warm, funk-fuelled take on Motor City techno - the sci-fi brilliance of "Intel" - the four-piece rushes through a range of killer, club-friendly electro jams in their trademark style (tough drums, funky bass, vocoder vocals). Highlights include the moody "My Electro Visions", the foreboding "Stereolized", the ghetto-tech influenced "Pothole Paradise" and the far-sighted, Cybotron-meets-Kraftwerk style goodness of "Electro In Key of Funk".
Review: The fourth installment in the Legwork Records saga sees label heads Lance DeSardi & Leopold come together under the artist moniker LEGWORK. For their first outing under the name they start with BUCK SHOT, a techno-soul chugger featuring a remix by the futurist himself, Matrixxman. On the flip, the boys go in for a straight-ahead killer with MEAN 2 ME and a more musical version of the same tune, KEY 2 ME.
Review: Borft have been digging deep in the archives of much loved techno talent Crinina for some of his old unreleased works. What they have found is "Tropique Manique", a masterpiece from the 90s that pairs warm dub undercurrents with minimalist percussion and sleek synths. It all adds up to a perfect roller that will make any floor march. On the flip is another previously unreleased gem by VILLA ABO (a defunct project from Jan Svenson of FRAK fame). It's another sweet tendon groove, this time with busier synths and far sighted chords.
Review: After two stunning rounds that featured the likes of Mark Hand, Lerosa and A Sagittariun, Bristol label Innate returns with another various EP of advanced techno ruminations from emergent talent and established names alike. Perseus Traxx leads in with a dense and expressive body popper that channels a little vintage B12, while Ewan Jansen takes things deep and aqueous with the gorgeous "Sinders". Rising electro star Reedale Rise serves up more of his sleek and refined machine funk on "Coral", and label boss Owain K unfurls a shimmering blanket of melancholic house with the sublime "Teifi".
Review: Having shot into the limelight in 2012 with a 12" on Hessle Audio followed up by an outing on Liberation Technologies, Bandshell has since been on covert operations largely centred around releasing his music himself via Bandcamp. Now he's extended that practice into the B.S.Hell label, providing a physical presence to his wayward experimentation on the fringes of bass music. It's a sound that naturally aligns with the likes of Batu and Laksa, but also defiantly makes its own statement as well. With five tracks of distinctive drum science and textural voodoo to indulge in, this is a welcome return to wax for a thrilling, self-motivated producer.
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: "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: Andrea, Fedele and Luigi are Agents Of Time, who are back after a succession of wonderful releases on their Obscura imprint with this debut for Cologne institution Kompakt. The label has never been shy of exploring the enigmatic fringes of disco (in their own distinct way) and the Pugliese trio follow this convention by heading into galactic territory on 'Music Made Paradise'. Soar up high, deep into the stratosphere on the cosmic euphoria of "Drive Me Crazy" complete with classic vocoder lyrics, then dive into the rich Italian tradition of electronic disco sounds on the bittersweet dancefloor drama of "Under Control" awash in lush synth textures and hypnotic arpeggios. Finally, the moody night drive of "Interstate 10" is indeed a dark one, but stylishly illuminated with neon flourishes.
Review: The second part of Omar S' You For Letting Me Be Myself album in vinyl form sees another 8 tracks across four sides of wax; aside from the '80s inflected sounds of the album's title track, the 303 workout of "Ready My Black Asz" finds itself with the dubbed out loops of "Messier Sixty Eight". As a bonus for those who already have the album, this part contains two vinyl exclusive tracks; the soothing deepness of "She's Sah Hero Nik" and the delayed organ weirdness of "Broken Bamalance Horn" - both more than worth the price of admission alone.
Review: Up next for Adam Beyer's esteemed Drumcode imprint is Enrico Sangiuliano, a Milan based DJ/producer originally from Reggio Emilia who has been been active on the Italian scene since the early noughties, playing everywhere from clubs to illegal raves. His work of late has been released on sister label Truesoul, Alleanza, Gem Records, Octopus Recordings and Rhythm Converted. On "Moon Rocks", Sangiuliano provides a euphoric, hands in the air anthem with soaring synth leads and seriously humming Reese bassline over a high octane beat. Also on the A side is the mad diva vocal breakdown on "Ghettoblaster" which soon gives way to a dark and tunnelling epic. Finally on the flip, we have two versions of "Dutch Kiss" but for our money it's all about the sombre and emotive IDM vibe of the Inner remix.
Porcelain (Alan Fitzpatrick Late Night dub) (7:52)
Go (Tiger Stripes White Tail remix) (7:08)
Go (Tiger Stripes Black Lodge remix) (7:20)
Review: Following the release of his superb autobiography a year or two back - not to mention his recent "snub" of new U.S President Donald Trump - Moby has been back in the news. Crucially, his old records are making a return too, albeit in freshly remixed form. This third remix 12" from muscular Swedish techno types Drumcode boasts three more reworks of vintage floor-fillers. On the A-side, Alam Fitzpatrick re-imagines "Porcelain" as a Berlin style tech-house chugger, using Moby's original synths as a spine-tingling breakdown. On the flip, Tiger Stripes lays down two remixes of "Go". The 'White Tail Mix" is a thumping techno stomper with a buzzing breakdown, while the "Black Lodge Mix" is a bumpin' house re-shape.
Review: After building his reputation via releases on Plus 8 and M_nus, amongst others, Julian Jeweil has secured a big-money move to Drumcode. As you'd expect, all four tracks on this first label outing tend towards the forthright, with title track "Rolling" - a sweaty fusion of booming arpeggio bass, pounding kick-drums, foreboding riffs, metallic hits and drum machine handclap fills - setting the agenda. The "build and drop techno" blueprint is explored further on "Venice", before the experienced Frenchman opts for some full-throttle antics on "Blue". Sensing listeners need a little bit of a breather, he dips the tempo a little on "Traffic", which boasts some deliciously psychedelic acid lines.
Review: Despite being born and raised in Detroit, Luke Hess is rarely mentioned in the same breath as his Motor City peers. Then again, his brand and dub-infused techno doesn't fit neatly into the futurist narrative. This latest full-length flips the script slightly. While it has plenty of dub-flecked moments (see "Overcome" and "Humility"), there's a greater reliance on melody over mood. While this could be a reflection of the involvement of collaborator Omar-S, it's more likely an indication of Hess's development as a producer. Moving from hypnotic deep house to robust techno via beatless interludes, Keep On is Hess's most accessible set to date.
Review: Last year Brazilian DJ/producer Ana Miranda joined Kompakt Extra following years spent building her reputation via fine releases on such labels as Novamute, Twin Turbo, Yoshitoshi and Terminal M. For her third release on the long-serving German label she's joined forces with another scene queen, the incomparable Miss Kittin. The pair has produced a raw, driving dancefloor beast that's bigger than Donald Trump's ego and infinitely more alluring. "Forever Ravers" is heavy, intense and forthright, with stylized vocal snippets and razor sharp electronic motifs surging above a thumping groove. Miranda offers a different take on the track on side B, opting for bleeping and panicked electronics and spacey bleep melodies.
Review: Turin techno stalwart Andrea has been serving up slabs of goodness on Ilian Tape since way back in 2012, though "Ritorno" is remarkably his very first full-length excursion. The 12 track set is far more varied than his fine club-focused singles, with the Italian variously turning his hand to swelling, Global Communication style ambient techno ("Attimo"), ultra-deep breakbeat dreaminess ("SKLYN"), melodious, jungle-influenced IDM ("LS September"), bassbin rattlers ("TrackQY", the skittish brilliance of moody roller "Reinf"), dreamy soundscape techno ("LG_Amb"), angular fusions of bass music and dark Italo-techno ("Drumzzy") and picturesque ambient dub slow jams ("Twin Forests").
Review: Cititrax present the sinewy synthwave sound of Tornische, a project first showcased on label boss Veronica Vasicka's Resident Advisor mix from earlier this year. We don't know much about them, but neither does it matter when the music is this good. The reference points are clear, but Tornische don't sound bogged down by nostalgia. Their tracks bristle with energy, and the interplay between the vocalists is theatric and ineffably cool in the same breath. Meanwhile the productions are deceptively nuanced even as they stalk in the raw alleyways first traipsed by plucky '80s bedroom studio dreamers.
Review: Earlier this year Minimal Wave offshoot provided one of this year's most visceral dancefloor weapons in Kino-I, the debut from Doug Lee's new An-I project. Taking inspiration from techno, jack, industrial and punk, An-I successfully drew a line under some of the Berlin-based artist's previous disco-flavoured endeavours. And then some! If you like the Kino-I 12" you will love the new triplet of An-I productions housed on this appropriately titled Gutz 12". The title track alone should come with a health warning; such is the furious onslaught of machine funk it contains, whilst the unnerving "Rut" is the most schizophrenic production you will hear this year. Best of all id closing track "Save Us" sounds like a cross between in Aeternam Vale and Silent Servant. Pressed on a rather thick and dashing slab of magenta orange vinyl!
Review: Having been dormant for over three years, New York label Satamile returns to continue spreading the gospel of proper electro music with a six-track EP from The Ghost That Walks. Drexciya enthusiasts will be all over this record; the rubbery melody of "The Angriest Angel" recalls the Detroit duo at their most playful but with a simmering undercurrent of tension that is very much the producer's own signature style. Similarly great are the searing analogue synth buzz of "Seven Deadly Sons", the tribal 303 stomp of "Urban Jungle" and the 808 rattle and Belgian rave tones of "Resident Evil". Those who were lost without the label's presence should rest easy - Angry Angels is easily among their extensive catalogue's best releases.
Review: A long and distinguished recording career for the always faithful Norm Talley has been lacking something Tsuba shapes until now, so kudos to Kev Griffiths for coaxing three drops of powerfully deep and danceable house from the Westside Detroiter. Each track here offers a different mood with A-side cut "Mid-Nite Madd-Ness" the peak time burner with classically Detroit house styled cymbal clashes cuing breakdowns, while vamping chords ascend and descend. "Holiday" is the warmer summer house jam with woozy Rhodes on loop, while "One Track Mind" is deep and rhythmic with a sultry vocal to boot.