Minimal / Tech House Recommendations June 2011

Review: James Holden's label was always seen as the imprint most likely to enjoy mainstream success, but it's only now that this prophecy looks likely to come to pass. Nathan Fake's productions were too dreamy and abstract to win mainsream support and Holden himself lacked the patience to enter the pop world - even though he certainly did not lack the creativity. Instead, the honour of most likely pop star in waiting falls to Canadian producer Jake Fairley aka Fairmont. Those with long memories and bulging record collections will recall that under his own name, Fairley made a series of stunning widescreen techno records for Berlin label Sender. Though inspired by Detroit melodies and the grainy, unrelenting bass of early 00s German techno, these releases laid the basis for a sound that has splintered into different strands, all of which reach their logical conclusions here. The muffled vocals and atmospheric hooks of "Cold World" are expressed, albeit using a more downbeat tempo, on the layered synths and downer medication slur of the title track, while the bristling, twitching techno of "Drama" is evident on "Vanguard", which builds to the sound of Alden Tyrellistyle arpeggiated synths. However, Fairley also builds on his more recent work as Fairmont, and the trancey synth hooks, throbbing bass and, on "Cannon", the androgynous vocals may finally propel Fairley from underground status into the charts.

Review: Rarely do we see producer Matthias Meyer stray from the comfort of his label home of Liebe*Detail. Props then to Cecille Records who have managed to capture the German artist and release his More Or Less EP. The title track prowls with low slung, dubby beats that roll rhythmically over warm pads and repetitive vocals in a sexually charged and late night affair. B Side "Grass Roots" exudes a charm that we so often see from Meyer; proud techno that stands tall in its identity yet bizarrely manages to drip with the groove and funk of modern day house music. Its heavy techno kicks and bass are fused with tight hats that nod directly to the techno pit. But, as vocals breeze with summery flair and float over subdued harmonic swoons, a house tune emerges and their partnership simply works. A similar charm is used on "Crystal Rain" as warm Balearic breezes and sun bathed tones shine through.

Review: As part of their landmark 20th anniversary celebrations, Glaswegian techno emporium Soma reinvigorates one of their most ubiquitous releases in the shape of Scott Groove's "Mothership Connection". Originally out in 1998, the Parliament pilfering track was notable for the accompanying Daft Punk remix which is included here for good measure. It's long been since deleted so the chance to grab a nice shiny new pressing and remind yourself of when they were on top of their game shouldn't be passed up. In addition Soma have commissioned Dirtybird boss Claude Von Stroke to give the track a contemporary techno relick and he responded in kind with a crisp rolling take that crucially retains the funk.

Review: Autoreply do the record buying public a favour and give Baby Ford's Tin Of Worms 12" another repress, this time on yellow wax. Baby Ford has been making electronic music since the late 1980s and is regarded by most as one of the key players in the nascent UK acid house scene. His entry into the Autoreply stable is a classy, versatile two tracker. The title track showcases crisp, tight linear drum programming - with ribcage shaking sub bass and supernatural synths which undulate over its eight minute cycle, displaying the original principles of minimal techno alongside forward thinking sound design. On the flip you'll find "Westway", originally recorded on Ford's now defunct hardware set up and mastered from DAT. This track conjours images of smoky late night jazz clubs with its smooth piano chords and strings that seem to float in an out of the mix- set starter, nightclub techno lesson, afterparty showpiece; the choice is yours...