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: A lot more eyes are on the brothers Zenker and their Ilian Tape label in the aftermath of Immersion that fine exercise in the art of the techno album but it doesn't seem to be fazing Dario and Marko. If anything they are remaining resolute to the approach, and the artists, that have served them so well as the label as risen these past few years. Junt sees the welcome return of Skee Mask, who delivered a real highlight of Ilian Tape's 2014 schedule in Serum, and the four tracks suggest the unheralded producer is quite the talent. The mood veers from tense dystopian electro on the title track to rolling abstract soundscapes ("Hover") to deft wall shakers ("Larus Canus"). Final track "Start Up Trak (edit)" is quite beautiful!

Review: Munich-based mystery man, Skee Mask, remains at the top of our Ilian Tape favourites. While we love the work of brothers Dario and Marco Zenker, the two label founders, we think that this guy's sound is the creme de la creme of contemporary, dub-filtered techno. Serum and Junt were both absolute killer EPs, and the Shred album was also on our list of the best releases of 2016, so we're pretty psyched about this new single, the curiously named 2012. The opening "Kordman Return (Swing mix)" is Skee Mask up to his naughty break sampling and techno wizardry, all broken and loose, whereas "Palo Alto" sees the producer in a surprisingly sturdy, head-first mood driven by solid bursts of 4/4 and wondrous synths. Over on the B-side, "Fjorward Flex Dub" swings its mighty swarms of drums over a minimal flurry of melodies, in what feels like a sublime reinterpretation of heavy, 90s power-house; "Glass Museum" closes with a real twist thanks to an abstract, wide-eyed landscape of dissolving, jazzed-out percussion and moody ambience. Excellent material, as per usual.