Juno Recommends Electro: October 2024

Review: Cybotron's Parallel Shift transports listeners to a meta-narrative that blurs the lines between military science, speculative futures, and the possibility of other dimensions. The album spirals through time, taking us from a hyper-structured 2100, where general intelligence reigns, back to mid-century modernity, a pivotal moment for technological advancement. The 'Skynet module' activates, retreating to a world on the edge of collapse, as the Infiniti process morphs into a cosmotechnic vehicle racing through a landscape dominated by emergent AI. This isn't just a sonic journeyiit's a study in rhythmanalysis, dissecting the ecological consequences of industrial overshoot. At the core of this tale is a scientist named Don Lewis, an expert tasked with decoding a cryptic black dodecagonal disc, Fortec. With origins tied to Roswell's extraterrestrial mysteries, the narrative dives into the dodecahedral patterns that hint at unknown neural pathways. It's a fusion of retro-futurism and advanced theoretical speculation, layered with Cybotron's signature electronic touch. The album is more than just a collection of tracks; it's a bold, futuristic exploration, offering glimpses of war, innovation, and a fragmented reality. Each beat pulses with tension, dragging the listener ever deeper into the layers of sound and story, leaving you questioning the boundaries of both music and existence.

Review: Greg Wilson returns to Running Back, celebrating 40 years since the release of the classic and highly influential Street Sounds UK Electro compilation. The groundbreaking track 'Real Time,' which opened the 1984 album, finally gets a 12" release here. Featuring a Greg Wilson edit, a Gerd Janson bonus beats edit and two 2024 reworks, this limited edition showcases Wilson's continued influence in the electronic music scene, alongside collaborations with his son, Che Wilson, including remixes for Gabriels and Confidence Man.

Review: Long-time electro stalwart Carl Finlow is the man behind the Random Factor alias. He started it back in 1994 and it has given rise to four full lengths on 20/20 Vision, which is where he now returns with his first new long player in 15 years. Silencer is a superb return to form with a mix of electro-pop that is laden with indelible melodies, granular vocoders, angelic vocals and the occasion back room, heads down electro banger. As always these cuts are second to none with bumping electro-funkers like 'Adulterant' and celestial trips like 'Lab Grown' perfect for back rooms.

Review: Marco Lazovic shows his jazzy electro side with this new outing on Scruniversal. It's a sixth EP from this label and another one you need to cop. The A-side tune is 'Amour Translanatique' and is one doused in romantic pad work, reverential moods and gentle drums that soothe the mind, body and soul. 'Uslada' is more upbeat but no less deft and silky. This one has lush cosmic chords and wispy melodies peeling off the busy beats which have a whiff of liquid jungle goodness to them. Two high-class cuts for tender dancefloors.

Review: Snappy breakdance come electro from Kid Ginseng, 'I Go Off', the third in a series of samply 12"s retrograding the inimitable sound of the diskette floppy disc, and its timely usage throughout the 80s and 90s in cities like Detroit, LA and New York. Channelling an 8-16 bit sound - and influenced by DJs Di'jital, Arabian Prince, and the LA X-Men - the centring of these influences is undeniably the instrumental Techno Hop label; Ginseng truly does go off on one in response to their legacy, with the title track forcing us to spit out the teabag with an abrupt "ptooey", in light of its spicy choral samples and bitty acid line. The runner-ups 'Romancing The Droid' and 'Konstrukt' also offer variable takes on the Techno Hop sound, the former especially bringing a downtempo proto-industrial hip-hop jaunt to an already totalised, militarised sonic zone.

Review: Both we and Gosub are the beneficiaries of this loving reissue of 'Low Volume Lovers', a classic electro EP released on the Frustrated Funk label in 2005. With updated artwork and remastered audio, this one's a nimble and tricksy electrifier, working in many a high-voltage drum snap and alternating-current impact, around quirky melodies and flighty beats. We kick off on the Zyklonic 'Earth Recompile', which unfurls about a central sixteenth window-washer synth - which occasionally self-destructs, desponding itself of its rhythmic integrity at points - whilst the ensuing 'Low Volume Lovers' moves more melodic; then, B-siders provide obversive contrast, with 'Lost In Our Ways' continuing the uptempo plod, and 'Waking Up' offering a spaced-out downtempo beats coda, with sci-fi motifs.

Review: Aman Umber and Krol strike out on a singular, little-trodden path with their newest, debut release for Telu. 001 not only inaugurates the label, but establishes the sounds and careers of two sure-to-be popular artists. They preface the release and launch with a verse, telling tall and fantastical tales of the "telluric vein". Telluric means earthly or terrestrial, but the music sounds ironically light-footed and astral, in command of a sprightly jigger's groove, as though we've overcome the "telluric" phase of history rather than stuck with it. 'All The Things' mixes filter-rasped vocal traces of Janet Jackson's 'If' into a telltale funk sharpshoot, while Umber's 'Meta Rave Society' aptly describes the character of today's ravegoer. The Krol collab, 'Rock It Out', moves things onto a wackier, more minimal tack, while the overall sonic mood gone for is decidedly reaffirmed on the radiophonic, sampletronic 'Business Generation' to close.

Review: Extramusical hugeness from Texas's best experimental electro outing, Science Cult. A name like 'Commuting Observables', when lent to a V/A mini-album, is abstract enough to immerse us in the implied concept; it conjures a mental image of a glaucous laboratory of sorts, in which a cadre of sonic mad scientists toil tirelessly to yield the batch of effervescent sense-smushers you hear here. Be warned, this isn't your bog-standard, one-or-two-part acid-analog jam EP; no, every track and alias here plays out like a different iteration of some carefully spliced yet still egregious biogenetic experiment; monster faunamechs bursting free from their respective vitreal nutri-vats, and embarking on respective misanthropic rampages, all leaving trails of mimetic polyalloy gunge behind them. Were we to choose one of said bio-beasts as our fighter, it'd have to be Syrte's 'I'm A T-Shirt', shortly run up by a tie between Fleck Esc' 'Unrefined Intentions' and Ben Pest's 'From AU'. But we have to say, none of this music is standard fare techno: all of it is really quite wild.

Review: Some records just keep on selling out no matter how many times they appear. This is one of them. It is getting another run this year because second-hand copies are now worth well over 150 quid, and it still sounds as good as ever. Carl Finlow is an electro wizard who never fails to cook up captivating sonic spells and that's what he does here across two cuts - the frosty and turbulent 'Conduit' and the more lithe and silky 'Hashtag'. Volsoc's Orange Problem remix and a rework from the one and only Radioactive Man close out this brilliant 12".

Review: According to musician Calagad 13, we have reached an advanced stage of development where the manifestation of growth of all life is under the control and management of artificial intelligence. Whether this is factually correct or merely a cultural amusement is irrelevant; its very uncertainty is what lends its use a definite gravitas. It's also the kind of statement that helps desirously package wicked dystopian electro EPs, such as 'Inner Revolution' here. Calagad 13 lays down his most explicitly personal work to date; six electro coups land shocking respective psychic blows, 'Moksha' to 'Chaos' growing increasingly vocoded and bellicose in their electro judders and dry sorties, amounting to not just an outer, but inner, war.

Review: The first record in a new series of VA releases, 'Constellations Vol. 1', features Zeta Reticula, LUZ1E, Serge Geyzel, Aura Nox, Vertical67 and Ufaze. 'Dial That Number' opens with vanguard skirmishes of buckshot FM bass and sonic warmongery, a robo-voice superegoically charging the listener with a command to "dial that number" amid bloopy sonic ratiocinations and momentary forgoings of bass. Luz1e's 'Data Motions' recalls the scope and intensity of the recent DJ Stingray 313 release, with its titular musings on data fungibility and capture proving apt to the track's metallic snares and full-bodied gnarls. Geyzel's track moves more electric and playful, record scratches and synth piques-and-jerks galore. The B-siders move more barren and ruinous, with planetarily stacked cairns of bass layering, girding and trussing the mixes of 'Non Stop Overstimulation' (a tautology if you think about it) and 'Tear Down Those Walls'. Finally 'I Should Have Known' sounds more conclusive, its sense of finality and solubility helped along by snares and kick transients that, rather than merely contrasting them, seep into the track's overall dystopian smog.

Review: Roll out the linoleum for breakdancin' in the streets to Soul Jazz's expertly curated Electro Throwdown: Sci-Fi Inter-Planetary Electro Attack on Planet Earth 1982-89. The compilation documents a distinct period of prolific creativity and sonic futurism, delivering thirteen body-rockin' classics, obscurities, and deep cuts from the '80s. Leading the charge is Professor X's 'Professor X (Saga)', outlining his self-referential bodypopping beat manifesto in sound, while certain other emblematic come procured by originators like The Rickie Clark Company, Jonzun Crew, Mo-Jo, The Troids and Jazaq. Harking to a time when the only prerequisite for rocking a crowd was a TR-808 and a sense of groove, we're more than happy to be beamed back.

Review: Nicola Cruz's third studio album Kinesia blends intricate studio sessions with rich analogue synthesis to create a deeply introspective soundscape. This album serves as an "antenna" that allows you to tune into ancient messages, words and rhythms. Opening with a unique 5/4 rhythm, Cruz conjures a textural, almost meditative world where tracks like 'Perma' and 'Telepathine' evoke both mysticism and movement. Each piece is woven with chants, subtle percussion and expansive textures that draw you in ever deeper to Cruz's evolving, kinetic sound, making it perfect for both reflective listening and the dancefloor.

Review: This release features four club tracks from the recent Cold Blow fifth anniversary CD compilation. It includes contributions from Matti Turunen of the renowned electro group Morphology who does a good job of serving up his signature while the EP also highlights a funky electro collaboration between Qwerty and Ed DMX. Additionally, there's a true minimal techno banger from the legendary Mono Junk and last but not least is the introduction of an enigmatic new producer named Sleep Mathew. He adds an intriguing touch to this diverse collection that marks five years of Cold Blow in style.

Review: Statica's debut release, 'M2-9: Wings of a Butterfly', showcases the label's dedication to serving up diverse techno sounds. This split EP, STATICA001, opens with two intense and dancefloor-ready bangers by the prolific Central Intelligence on the A-side, and both are packed with visceral drum energy and synth unpredictability. The B0side features Madrid-based Victor Reyes, who delivers two reflective but also emotionally charged 4/4 workouts that create a compelling contrast that embodies Statica's "Forces in Equilibrium" ethos. Inspired by the unique butterfly-shaped nebula Minkowski 2-9, this release is a fresh and impactful fusion of power and sensitivity.

Review: Dischi Nottetempo, based in Milan, welcomes a new artist to their roster, Caramel Chameleon (Francesco Pio Nitti), for a label-debut EP with which our ears may tussle and tarry for some time: 'Compact Demons'. Nitti will be known already to many, his fluid brand of braindance having already graced imprints like 030303 and Undersound's NOUN sublabel. This five-tracker continues the charge of heady braindance abstraction and hardboiled beats, proving unafraid of the contradicton of ludic depth, slaphappy apprehension, silly seriousness. In characteristic braindance fashion, 'd-_-b Future Is Blind' makes use of the briefest of ASCII art in the title, and sonically indulges lowriding bass and slickly rolling, generative woodblocks, a tributary use of breaks and digitalia to the tutelage of IDM if we've ever heard one. Shorter and snappier drivers like 'Inter27wined (Cottage mix)' provide similar degrees of mirth mixed in with ironic mendacity, the paradox of the music lying in its sense of sardonic sprightliness.

Review: You've heard of quasars, but do you know what a collapsar is? Producer Analogous Doom, debuting her lyrical IDM/electro record for the emergent Berlin label Vortex Traks here, aims to challenge us listeners with this exact noggin-scratcher of a question. The artist also known by her own name Vanna Carr aims to provoke in the listener a deep reverence for the natural phenomena that surround and determine us, up to and including those of a cosmic scale. Starting out micro and ending up macro, Carr looks around and discovers the 'Vela', her native 'Brackish Beings' who possess an innately cold, littoral way about them. Finding her locality insufficient, she looks to the stars, where she spies 'A Pinpoint Of Light', which turns out to be a 'Collapsar', otherwise defined as a star that has undergone gravitational collapse. After some further sonic musings on fluxion and quark matter, she reconciles to her earthbound standpoint, gazing out over the zodiac 'Gegenschein' phenomenon: a faint glowing region in the night sky, caused by dust particles that reflect the backscatter of sunlight. Exactly the kind of ideas we love explored on an electro album!

Review: Edward Upton has been producing music since 1994 and DMX KREW is his most beloved alias. It's where he has long since mastered his machines and is known for laying down vibrant synths and driving electro rhythms with an analogue edge and serious sense of cosmic adventure. Warp Zone is an exciting new LP from the man that arrives on Curtis Electronix Holland and offers up more of his signature retro-inspired electronic sounds that reflect his nostalgic yet innovative approach to electronic music. Each track is designed to transport you through a sonic landscape reminiscent of classic video game soundtracks and they are all characterised by playful melodies and driving rhythms that continue to push the boundaries of the electro genre.

Review: Mix-O-Logy is an alias of Dublin-based artist Phil Robertson and here he makes his bow on the Rawax label with a series of super electro joints. 'Electro People (Feel Me)' is unpinned with an edgy bassline that brings the menace to lithe synths. 'Akataka' is again defined by a bassline, this time it groans down low and keeps you on edge and the kinetic kicks and percussion unfold with a celestial twist. 'Candyman' has a deep space feel with crystalline chords and wispy sci-fi motifs. Last of all, 'Phenomenon' is the most physical with what sounds like Tetris or Mario video game effects racing about next to the crispy drums.

Review: Germany's Eudaimonia Records names itself after Aristotle's concept: the hellenic idea of eudaimonia roughly translates to "flourishing", and refers to the confluence of luck, circumstance, self-discipline, intellect, health and other traits that both characterise and give rise to, if continually nurtured, the good life. If Aristotle had had the foresight to include music in his criteria, the world would be a better place. Thankfully there's a new lyceum in town - also doubling up as a record label - here to pick up where the sophist left off. One of the school's latest pupillary recruits is Not Even Noticed, the Frankfurt duo who've come a long way from Greece. The 'Feel' EP welcomes four tracks by this still burbling pair to an ongoing continuum of artistic esteem, their erudite, cosmic breaks, their typhonic trax, knowing few bounds when it comes to evoking awe and sublime wonderment. Hold out for the clever fusion that is 'Reverie', which mixes future garage and space breaks; if this isn't a cocktail for the good life, we don't know what is.

Review: We imagine "Neonicle" - judging by the affixes of the name alone - would likely mean something like "new instance of a half-biological, half-mechanical monstrosity, capable of lamellic self-regeneration when mortally wounded". Think of Terminator, grey goo or The Thing. Whatever idea the producer behind this alias had in mind when coming up with the name, you cannot deny that this nominal vagary still conjures up a certain set of (grisly, technological) images when paired with such solemn, fatal electro sounds. Machinic desecrations and vocal litanies abound on A-siders 'Kagome' featuring Julia Marks and 'Dirty Sanchez', both of which portray a tarred, oiled and feathered sound, as of an unstoppable automaton setting about a new reformative mission. Then 'Train' and 'New Culture' go on to utterly usurp and displace the old narrative, with the hip cyber electro of the latter - modifying the laryngeal emissions of vocalist Dyroplane - extending this robotic coup d'etat to lay down a new, sinister futural law.

Review: D'Monk makes his debut with a hard-hitting EP on Touching Bass, a label known for its refined taste. From the start, it's clear that this one's designed for the dancefloor, opening with 'Broken Rhythm Composer'ia techno-heavy, machine-soul masterpiece. A barrage of driving drums, sharp hi-hats, and that unmistakable 808 tom bassline set the tone, while a distorted vocal subtly weaves through the mix, creating an otherworldly atmosphere. The groove is tight but forward-thinking, flanged drums swirling in halfway through, pulling you further into the EP's hypnotic world. 'Listen' follows, stepping things up with a vocal loop floating over bass-heavy, reverberating drums. Three minutes in, just when you think it's simmering, a riser builds, leading to a huge drop. Acid squelches pierce the dubby undercurrent, rolling back into a thick, groovy bassline. It's Detroit-inspired, but also nods to London's broken beat scene and Berlin's electronic landscape. Then, out of nowhere, the track is transformed by Herbie Hancock-style jazz keys, adding a funky, spaced-out layer before snapping back to the minimal, bass-driven core. This is music crafted by someone who understands the dynamics of the dancefloor, knowing exactly when to push and pull, when to layer, and when to strip things back. It's raw, precise, and absolutely uncompromising. A debut that not only stands out but suggests D'Monk's already seasoned in crafting dancefloor dynamite.

Review: Egyptian Lover's Egypt Egypt: 40th Anniversary 1984-2024 celebrates a seminal track in the evolution of electro and techno. Originally released in 1984, 'Egypt Egypt' remains a cornerstone of West Coast electro, influencing both early techno and hip-hop. This anniversary reissue underscores the track's enduring impact, as its innovative rhythms and pioneering sound continue to resonate with new generations of listeners. The 40th Anniversary edition features a remastered version of 'Egypt Egypt' on Side-1, preserving its original energy and groundbreaking appeal. Side-2 offers the 'Girls' (40th Anniversary Mix), which breathes new life into the classic while retaining its iconic essence. This reissue not only honors the legacy of Egyptian Lover's influence but also introduces its revolutionary sound to contemporary fans, highlighting its crucial role in shaping electronic music and hip-hop culture.

Review: DFD, aka Troy Anderson, returns with 'Aged Acid' EP, a collection of four meticulously crafted acid cuts. Each track presents a distinct atmosphere, demonstrating a polished approach to the classic acid sound. Having worked under monikers like Waverider and Cityboy since the 90s, Anderson showcases his evolution as a producer. Recently, he's been releasing fresh material on Down Low Music, while earlier releases are resurfacing on We're Going Back. This EP is proof that Anderson's sonic craftsmanship has only improved with time.

Review: The newly formed Shades Of Blur label comes out blazing with this electro and new wave firework, an EP drawing on various subgenres like electroclash, punk and nu-romantic. Each track here explores strong visions of classic sounding bands - 'Plama 1' is pure electro post-punk that infuses a bit of EBM and techno while 'Plama 2' has echoes of New Order's Confusion. We especially like 'Plama 3' with the slower electro funk that sounds like a mix of Severed Heads, Chris & Cosey and Throbbing Gristle and 'Plama 4' sounds like some kind of YMO outtake. If these are any sign of what's to come, than Shades Of Blur will be a label to look out for.

Review: If it feels like we've been waiting a minute for some fresh material from the ever-excellent Roger Geressen, then the wait has been worth it as he gifts us this exemplary extended EP which borders on mini-album territory. The Dutch producer has evolved his sound in subtle ways over the years, but his affinity for mellow atmospheres abounds on this drop for Chapelle XIV, leading in with the relaxed broken beat machine soul of 'Other Dimensions' before switching into the more heads-down roll of 'Oceans Of Ganymede' and 'Solar Flare's winsome synth lines and snappy electro rhythm section. 'Future Visions' continues the exploration of broad melodic vistas and 'Moons Of Mercury' goes in hard on the delays for shimmering results. 'User Interface' completes the picture with a perfect sign off on this refined and immersive six-tracker from an artist you know you can trust.

Review: Soul Jazz Records' Electro Throwdown - Sci-Fi Inter-Planetary Electro Attack on Planet Earth 1982-89 is a thrilling expedition into the farthest corners of electro music. This collection captures the raw energy of the 1980s, highlighting mostly private-press and indie label gems that are also rare. With iconic vocoders, Roland TR-808 drum machines, and infectious grooves, these tracks embody the era's cutting-edge electronic sound. Aside from a few familiar names like Michael Jonzun's Jonzun Crew and The Packman, the album shines a spotlight on lesser-known pioneers such as Pretty Tony, Planet Detroit (aka Maggotron), and Rich Cason. These underground innovators helped define the electro scene across the U.S., from Miami to New York and Los Angeles. Each track showcases the futuristic, funk-laden spirit of the 80s electro boom, making this compilation an essential ride through sci-fi-inspired, beat-driven landscapes. It's an indispensable time capsule for any electro aficionado.