Skee Mask

Review: Following a fine solo EP from Jonas Friedlich, the Molten Moods label returns to type with another compilation style EP featuring a quartet of cuts from their growing roster of artists. Kessel Vale kicks off proceedings with the lightly melodic, becalmed electronic experimentalism of "Voguing Geisha", before Skee Mask unfurls the Autechre-does-deep-dubstep flex of "Fanta Ocean" with a little assistance from label co-founder Jonas Yamer. On the flipside, Konrad Wehrmeister layers drifting, melancholic melodies over heavy sub-bass and skittish electro beats, while Jonas Yehmer joins the dots between spaced-out dub techno and out-of-this-world ambient on "Insgeheim". Impressive stuff, all told.

Review: Skee Mask, who only recently was found out to be called Bryan Muller, comes through with his second LP to date, making a wonderful follow-up to 2016's Shred. Compro is, ironically, comprised of a much more explorative palette of sounds, with many corners of the album veering off into otherworldly ambient, often through a striking new-age sensibility. The most impressive element of this album is its flow and evolution across its 12 tracks, sounding a lot more like one single-minded thought rather than a collection of disparate dance-not-dance tunes. The quality of the recording is noticeable, too, with tracks like "Rev8617" or "Via Sub Mids" sounding professional, both in vision and style. Through an intricate collage of breaks, samples, polyphonies, and subtle electronic manipulations, Skee Mask has truly mastered his own art, and is giving a new direction to the wider 'UK rave' sound. BIG.