Electro Recommendations Best Of 2011

Review: After finding favour with the 1000 Lights In The Sky series on Bunker Records last year, The Exaltics gravitate towards Creme for six tracks of creeped out electronic deviations through the sonic extremities. Resolutely dark and atmospheric from the off, They Arrive is perfectly suited to the lesser spotted Creme Eclipse offshoot. "See It Through My Eyes" stretches Hitchcock style horror strings out with codeine infused aplomb across a scratched stumble through percolating ripples of interference. Alongside it, the title track simmers with a feeling of onrushing danger, as survival horror drones sound out in the nether regions of a constantly twitching dub techno groove. The flip is a match in the dread and menace stakes, with the gloom lifting only for the quite brilliant, glacial rave sounds of "One Circle" which finishes off proceedings.

Review: Redlight's Lobster Boy imprint serves up its third helping of vinyl only treats with two supposedly new names at the helm in the shape of New York Transit Authority and Conqueror. Rife is the rumour that these are merely aliases for some of Bristol's finest, but we don't dabble in hearsay - instead we focus on the music, which is pretty special! Both productions veer through the crisp 808 centric thrust that Swamp 81 and [Naked Lunch] have been pioneering in 2011, with the low reaching NY Transit Authority jam "Off the Traxx (Catch That Train)" splaying a loose percussive swing and Carpenter style synth stabs over gloopy sub bass incursions. Conqueror's self titled B Side is the tougher accompaniment, all dystopian dread vibes and finely sculpted 808s dipped in dust.

Review: Those electro nuts who indulged in Urania's Mirror , the excellent debut set from Finnish analogue experts Morphology, might just elicit a shriek of excitement at this twelve inch shaped addendum from Zyntax Motorcity given who the Detroit label have enlisted on remix duties! Hardfloor, Legowelt, Arne Weinberg and Headnoaks each tackle tracks from the album on this classy looking (and decidedly weighty) white twelve inch with the legendary German 303 manipulators opening proceedings with a taut acid refix of "Absence Of Matter" which quickly settles into a Martian groove of multiple acid ripples. It's the accompanying remix of "Hydrus Constellation" from compatriot Headnoaks that impresses more, delivering a more expansive acid soundscape that cascades with metallic fractals of electro rhythms across a bed of almost Miami centric bass. From these experimental embers, Legowelt swerves it all back towards the floor with an elegantly poised take on "BIT-Space" that sees deep orchestral movements and odd vocal tones embellish a shuffling house groove with typical Wolfers eccentricity.

Review: Minimal Wave dig into the archives of Gallic synth savant Philippe Laurent, presenting a selection of tracks recorded between the late seventies and late eighties. This is the first time all but the most ardent fans of synth wave music will have heard some of the nine tracks here, as they range between previously unreleased or culled from obscure tape only compilations. There's an approach to rhythm, depth and structure here that is startling, given the technology used, with a bounce throughout that's familiar to the early Detroit electro artists. Pressed up on heavyweight 180gram translucent red vinyl that is housed in a deluxe sleeve, this release will prove to be every bit as essential as previous Minimal Wave output for fans of the synth sound.

Review: Ever since the news broke that Instra:mental's Alex Green was to take on the guise of Boddika for his slower tempo, house and electro style productions, we've been foaming at the mouth with fevered anticipation. Dominated by 808 drum machines and pulsing rhythms, yet maintaining that uber-cool classiness and delicacy that shapes his work with production partner Damon (Kid Drama) as Instra:mental, Boddika really lives up to the high expectation bequeathed upon him here in both "Electron" and "Underground". Whilst "Electron" is the rather more frenetically patterned, ever so slightly aggressive and insatiable track of the pair, after a few listens you will feel yourself caught up in the driving groove, beats pattering around like the dots of an impressionist paintbrush before a heavy drum kick and atmospheric pressure re-sets the tone. "Underground" continues in a similar vein, dark and brooding, coloured with cowbells and droning arpeggiated synths - it's a contemplative cut and more of a 3am draw, but just as powerful. Superbly crafted, intricate artwork by Ashes 57 seals the deal and makes this a must buy for vinyl collectors and music lovers alike.

Review: The near unstoppable run of xxxy continues with Kerpow on Irish label All City (responsible for that massive FaltyDL release this summer), complete with fantastically adorned, pop-art referencing sleeve. It's clear that his style has matured over his prolific run of productions; "Kerpow" is arguably one xxxy's most balanced productions to date, eschewing the day-glo garage of his recent tracks, and combining a pounding breakbeat and techno stabs with warm organ chords in just the right quantities. "Down Wit U" is a juke influenced cut, combining a relentless bass slam and restless 808 rhythms while the titular vocal sample adds a hook worthy of footwork contemporary Addison Groove.

Review: The third single release from Hardfloor's most recent album Two Guys Three Boxes comes as a remix package and showcasing the skills of E.R.P., Morphology and Boris Divider. E.R.P dish up some refined electro with a streak of funk for their version, making it a surefire winner for a range of tastes. Finish electro duo Morphology's deeper take on "You Know The Score" plays with sharp drums and twanging samples and subtle synth chords. On the flip Boris Divider goes for a dark, eerie electro journey - hovering pads, dusty samples and bizarre noises lurk at every corner and make it Juno's pick of the remix package.

Review: Following his recent memorable EP for Rush Hour containing end of night burner "You're Not The Only Girl", veteran Dutch producer Dexter returns to the Clone stable with this release on their Crown Ltd sub-label. Gone are the melancholic undertones of the Rush Hour release, replaced here by the vintage electro flex of the splendidly titled "Space Booty" and "Fat Skinny People". Upon first listen it's not too hard to see where the name for the title track comes from, with a boompty bassline channelling the spirit of Dexter's finest releases to date. Our pick though is flipside track "Fat Skinny People", with filthy synth stabs complemented by an instant classic looped vocal. It's so good Dexter even included a bonus beats version. Comes with free download code too.

Review: Big 12" of typically aquatic Drexciyan techno from Detroit's DJ Stingray, delivered via his own Micron Audio imprint. The EP and track titles suggest an exploration of the limits of sonic frequency, and that's what you get on this dark, abstract 12". The A-Side sees "2.4 GHZ ISM" take centre stage, an up-tempo slice of abstract techno built around a slightly off-beat kick and machinegun electronics set within a deeply cavernous space. "Signal Analysis" meanwhile utilizes a more straight-up rhythm with booming low-end underneath an ominous spoken word sample and sonorous metallic sound effects. On the flip, "VLF Device" combines a popping metallic 808 workout over a combination of laser synths and sci-fi warning sirens, while "Spread Spectrum" utilizes a hypnotic rubber band synth line and a sparing kick drum to ratchet up the tension levels, whilst the massive reverb gives the otherwise sparse production an incredible sense of otherworldly scale.

Review: Stingray 313 returns with his second 12" in a month, following his recent release on Micron Audio, with this EP for Austrian label Trust. In true Stingray style these tracks are all fast to say the least. Opener "Herd Instinct" uses a surprisingly melodic bassline alongside a brittle arpeggio with a futuristic neon sheen, sounding somewhere between Model 500 and Oni Ayhun. "Street Theatre" combines cavernous space with electrified bass hum, but combined with a surprisingly delicate arpeggio ripple which pulls against the relatively manic rhythms, whilst "Who & Watching The Watch" utilises a number of spoken word vocal samples which tie into a fear of surveillance culture, which combined with its booming low end and menacing acid squiggles create a nightmare of dystopian techno. Finally, "Defect" takes things a little deeper, with a relatively straight rhythm and some searching Detroit pads in conjunction with a typically thick bass pulse which injects extra urgency into the already speedy proceedings.

Review: Breakbeat/electro label Trust is something of a home for artist Microthol, with Supergravity being his sixth release for them since 2003. An equally rough, gritty yet ambient and mellow output, the EP covers four tracks of interesting and downtempo electronic music. The A-Side's "Supergravity Solutions" and "Atlas Detection" both explore dark basslines, slung down so delicately that they banish any gruffness and simply push the ambience of fleeting blips and crackles into the spotlight; a clever way to achieve moodiness with an uplifting touch. On the flipside, "Andolit Swaras'" uses its minimal elements to create melodies in a captivating manner while "The Bliss" featuring Sensational is the contrasting piece on this release. Twisted hip-hop belts out, with MCing from Sensational of Jungle Brothers fame making it a welcome and starkly different addition.

Review: The second of two 12" singles this week from Darkestral Recordings sees Instra:mental's Al Green further explore his new Transportation AAD alias, a collaboration with Darkestral label head Drkstr. In "Pagoda", the pair compose a particularly atmospheric interlude which utilises Eastern tones and booming drums to create a soundscape worthy of a noir tinged sci-fi movie. The single also features more contributions from Green under another new guise, Grey Goo. Less obviously dancefloor focused, the cavernous sonics and brooding atmospherics of "Lost Transmissions" recalls the introspective dub experimentation of Blackest Ever Black's Raime, while "See Me" fuses this aesthetic to some drawn out chords and sharply programmed 808 drums. The final contribution comes from the mysterious Vaalhaala, who employs a pulsing arpeggio which sounds like it has come from a far off satellite transmission, with sounds that threaten to explode at any moment. Sounding like nothing else this year, this EP is a perfect hybrid of futuristic bass and bleak moods, and will be essential for anyone interested in where the genre can go next.