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: 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: 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: A sticker on the front of this 12" from Brussels-based Basic Moves proudly proclaims that 100 per cent of sales royalties will be donated to charity. It's a nice move and one that should guarantee that the record is taken even more seriously. Like much of the label's output, it boasts self-styled "outsider club music", this time from Casablanca-born DJ Booth and label co-founder Walrus. DJ Booth handles side A, first romping his way through a bleeping, intoxicating, peak-time techno club jam ("Defaulted (Industry)"), before reaching for the breakbeats, deep electronics and electro shuffle on the superb "The Door". On side B Walrus takes over. "Can't Get New Shoes" is a bubbly, acid-fired chunk of electro/techno crunchiness, while "Free City Light" is notably deeper jazzier and way more melodic.
Review: German artist Lowtec operates in the shadows, on the fringes of traditional genres where everything becomes weird, wonky and wonderful. Since 2016 he has been doing so for Swedish label Blundar, and after putting out their first EP he now returns for another that is just as unusual and otherworldly. It is made from busted drum loops, distant church bell sounds, deconstructed percussion and off grid rhythm. All four of the untiled cuts here are dark but beautiful, subtle but profound. The opener is the most intense, "Track 2" is filled with mystery and the flip takes in haunting house and rhythmic noise. This EP proves that few are more adventurous or inventive than Lowtec.
Review: V2A is a brand new alias from one of electronic music's most storied studio sorts, '90s progressive house producer turned in-demand mastering engineer Gordon Pohl. The "Rodarte EP" is typical of his 21st century releases, sitting as it does somewhere between lo-fi slowed-down techno, off-kilter IDM and hazy ambient techno bliss. While some of the tracks could entrance the right dancefloors - see the sparse, hypnotic minimalism of spaced-out opener "Eins" and the slow acid pulse of "Drei", which includes a rhythmic element so distant you'll think one of your neighbours is doing DIY - it seems designed primarily for maximum immersive impact in a home listening setting. That's particularly true of closing cut "Vier", where rhythmical pulses underpin long, drawn out chords.
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: Over the course of their six-year career, French twosome Nummer have slowly morphed from fresh-faced angular techno enthusiasts, to makers of admired electronic music rooted in a widescreen and nuanced musical vision. Their growing maturity is much in evidence on "Night Confidence", an EP that effortlessly flits between deep, dreamy and delay-laden lo-fi deep house bliss ("Sea Junkies"), sleazy, acid-fired, alien-sounding late night house weirdness ("Hassen (Dub)"), extra-percussive fusions of Burrell Brothers style deep house and new age beauty ("Kyoto's Forest"), and the wonderful analogue/organic fusion that is rolling, outer-space house jam "Windchill". An inspired EP from a duo whose music is sounding fresher than ever.
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: 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: Oliver Moon introduces the Dancing With Strangers record label, alongside good friend and fellow DJ/Producer Paul Louth aka Agile Kind - who inaugurates the label here. While it may have been a long time between drinks for the veteran DJ on the production front (he's intermittently created music under aliases like Water Walk and Soulfish over the years) he proves that slow and steady wins the race on the "Pyramid EP". The emotive vibe of early '90s British IDM and US techno-soul is eminent throughout. From the sensual deepness of the title track or B side cut "Mime" which are reminiscent of classics by the likes of DaRandLand, not to mention the full throttle rework by legend Kirk Degiorgio under the As One moniker on the flip.
Review: Paris talents Armless Kid and Aes are back together sharing a hot slab of wax for the Luud label. Yes takes the a-side and gets us underway with deep cosmic house and sauced out breaks of jazz-tinged gem "Jhonedo." "WAYD" ups the ante with fluttering sheet metal snares and ticking hits that ride over bumpy kicks for a truly sci-fi adventure. Armless Kid goes for a scintillating techno cut with warped acid and manic percussion working you into a lather on"603" then a wonky house kicker on "604" that will unhinge any club.
Review: According to Jared Wilson, the debut release on the freshly minted Jason, Jared and Brian's Records imprint is dedicated to (and influenced by), "Roland, Dinsync, Social Entropy Engine and the Pacific Northwest". Musically, it's not a great departure from his usual robust, acid-fired, club-focused style, but that's no bad thing. Perhaps the pick of the bunch is A-side "Acid Remake (Lynwood New mix)", where undulating TB-303 acid lines bubble away atop a snappy house beat and suitably intergalactic, Motor City techno style chords. Elsewhere, "Lynwood 23" is a more boisterous if bittersweet acid techno workout, while "Lynwood Engine" is deep, melancholic and undeniably alien sounding.
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: The 7th release on BLKMARKET MUSIC comes from Samuel Jabba and is the first part of the Dystopian Future series.
Samuel Jabba is the label co-founder of a new vinyl only label called From the Void Above. Hailing from Bogota, Colombia, Samuel is a young DJ and talented producer who creates music spanning different genres of electronic music.
On his debut release for Blkmarket Music, the A side starts off with his electro track 'Acid Pleasure' on A1. The A2 track 'Space Mirage' takes you on an outer space voyage focusing on the more deeper side of techno.
The B side kicks off with his heady breakbeat track 'Robotics' on the B1. On B2, Samuel takes us on a dark journey with his minimal electro track entitled 'Random Demise.'