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: With his nom de plume, producer Anoesis - returning to Cyphon Records - posits an age-old philosophical question. Are there forms of knowledge that we can access independently of consciousness? Besides perception of phenomena, and by the use of reason, how else can we know things? One answer is "anoesis", which is the reception of impressions or sensations - sensory input, pure qualia - by the brain, prior to any intellectual (aka. noetic) work being done. As a form of 'Metacognition', anoesis is innate, paralogical, and before reason; such motor inputs are exactly the kind that electro and its adjacent styles hope to simulate and stimulate. 'Vision Off' and 'Do Don't Don't Do' seem to reflect something of this latent potentiation of thought, with patterned, helical beats, and bouncy neuronal noises, seeming to represent the ludicrousness of the unconscious and somatic mind. 'New Style Of Life' just as oxymoronic - irrationally rational - proving that the dancing body also follows its own, paralinguistic form of reason; sci-fi, Forbidden Planet-style, billowing synth note ascensions blend with clacky hats and snares, representing the forward-facing yet untempered drives of such a precognitive, subjective mental state.
Review: Aquatronics makes his debut on Citra Lab Sounds, with five "erotically charged" electro tracks, designed to beckon and entice, siren-wise, across the high seas of a soon-to-come electro adventure. Not shying from bashful or self-critical self-description, Aquatronics aka. Gaetan Votion refers to himself as "Gazingoogati" in the liner notes, and claims to hail from Belgium and Antarctica at the same time. He also describes the likes of 'Ephemeral', '909 Waves' and 'Halo Spheres' as "weak" and "watered down", suggesting a knowing anticipation of the also knowing, but still less-knowing smirks of others in response to the rough feel of these scanty shanties. Untethering ourselves from any irony, however, our favourite in this bunch has to be 'South Bay Area'; its pitch-tacked sostenutos, and ample space opened thereafter for an ensuing aquabass.
Review: Asymetric80 is a really versatile producer. He's proven that with several fresh EPs in recent years on a range of different labels and they have explored everything from menacing electro to dark techno via industrial and noise. This new outing on Oraculo somewhat blends all that together into something new and fresh. 'Rara Avis' opens with stomping drums and EBM synths, 'Instant Manifesto' is a metallic techno workout and 'Plenary Indulgence' layers up scuzzy noise and gothic designs into something stark and strobe-lit. 'Innocent Stigmanta' and 'Internal Tears' bring more late night terror.
Review: Barbatus D is a rare example of a new techno and electro concept label, one centring on the exploits and buccaneering braveries of the corsair Captain Barbatus D. Wreckords. This fictive entity - a pirate tulpa - is nonetheless the sort of character we can indeed imagine coming into real being, as long as at least some amount of booty has been nabbed, and/or some number of Barbatus D. "Wreckords" have been listened to, as ritual per. The EP comprises a four-track series of musings on a new, anarchic world order, in which roving seafarers, answerable to nobody, muse on issues like privacy, mass organisation, winter soleros and secret rooms. All sea shanties here were composed in the vein of 80s electro, brought to a freshly crisp modern production technique.
Review: Max Buchalik invites you to a Higher State with this new EP which builds on his love of 80s but with a new and sophisticated edge. He brings a great love of the dance floor to these cuts as well as mastery of his synths. 'Higher State' is perfectly hi-nrg and camp with its shiny arps and lush synths all brings to mind the likes of Bronski Beat. The Venice Arms remix brings much more edgy rhythm work and crisp snares and stabs. 'Midnight Passion' then gets back to hands in the air, rushes of E, synth laden retro nu-disco brilliance and a Fabrizio Mammarella remix then layers in some more ice-cold hits and Kraftwerikan synth flashes.
Review: Adrien Calvet returns to Stay At Home for yet another four-track outing in the realm of buzzy 4x4 electro and minimal. Compared to his earlier releases, this one marks a curveball, with rhythmical raps and monotone vocal determinations laid out ecstatically across each mix. The tracks otherwise range from wacky to funky to surreal, capturing the apparent essence of Adrien's recent Central America tour. The atmosphere was said to be vibrant, with "gringos" mingling and locals warmly calling out, "iEste es mi gringo!" from afar...
Review: The furthest-flung nether regions of outworld electro teem with unsung, immortal voices, yet unhazarded terrains in which undiscovered dialects remain yet unlinked to the mass. Or so it sounds to be implied on this latest more-melter, 'The First Word', from young experimental electro outfit Coduality. First released in 2022 as the result of neighbourhood friends from Minsk, Tsyd and Kayssych meeting, sharing in and relishing the alien imagos projected by their electro predecessors, their debut 'The First Word' is back by popular demand; we're unsurprised that, despite the apparent extraterrestriality of sound, the artists drew this set of productions from inspirations derived from their local environments, responding to a series of collaborative music-making experiments taking place in the countryside. Opener 'Sacred Walk' is an incredible would-be horror-sci-fi soundtrack opener, its uillean emulations and harp synths riffing against gizmo and ASMR sound effects to terrifically audiovisual effect. The three dance ensuers go from there, though not without ample grounding in the EP's must-listen introduction; the A1 truly is the highlight here.
Review: Bill Converse and Patricia land on Acid Test with more of their dynamic beat machine workouts in the form of this '380/750' EP which merges their distinct styles into an introspective, dancefloor-driven four-track workout. Recorded live at Ravitz's Brooklyn studio in just two days, the EP features raw, unedited performances that show off the duo's intuitive rhythm-making skills while drawing on Converse's 90s Michigan rave roots and Ravitz's Chicago upbringing. The immersive, bubbly, rubbery sounds are perfect blends of body music and heady synth work and cannot fail to take you deep.
Review: Dark Vektor's 'Universos Infinitos' was first released a couple of years ago via HC, and the label have now resolved to reissue the record, by popular demand, on vinyl. Privileging a full-throttle, cosmic electro sound - one that makes full use of the digital medium's spectral potential, yet still echoes something of the imperfect medium that is space-time - 'Universos Infinitos' invites us to consider the vast expanse of the cosmos through a chrome-tinted radio telescope. From the off, of the title track, we hear analogous readings of vocoded pulsars and sidereal stabs, both of which are received loudly and clearly by our technilicious giant satellite dish. 'Darkness Around Me' is more an intermittent sound-source, perhaps signalling the cosmic presence of a partially botched nova - or even a Dyson sphere - through its equally ecstatic square waves and washout vocals from singer Marinetta. The Lost Boys deliver a rogue and vampiric schranz version on the B, shortly followed by an even archer footwork remix from our newest favourite outer-space visitor, Kaxtelian.
Review: Marie Davidson's latest single 'Y.A.A.M.' is a poignant critique of power dynamics in the music industry - favouring authenticity and passion in a world that thrives on branding and transactional relationships - out of which the Canadian artist finds fuel to fan the driving flames of existential industrial electro-techno. The track opens with a juddering, in-between-4x4-and-2-step electro beat, which lasts for over a minute before Davidson takes up the mic: "do you follow me?". What ensues is an imperfect list of music industry quibbles, which flow over the monstrously huge backing - "entrepreneurs, influencers, producers, managers / nothing for you and me" - in stark but gallows-comedic contrast to the plea to relocate our arses to the dancefloor. In Davidson's own words, the track was inspired by a haughty, lecturing email from a music industry insider: "I took the opportunity to write down how I felt about the words," she recalls, "and the overall tone of arrogance of what I had just been sent quickly, I found myself having a bit too much fun."
DJ Korekaranokinkyusaigai & DJ Disappointed - "Acid Flow" (5:54)
Driven By Attraction - "Weaponize" (7:52)
Shcuro - "Fuel" (4:41)
Decent Damage & Shawn Cartier - "TD Playa" (5:30)
Review: Steffi's Klakson label is one of the few real creams of today's electro landscape; inviting only the very best of the best artists, few of its contemporaries can really say they've managed to achieve the same feats in the same space of 20 years or so. The latest V/A EP to grace their rolling stocks, 'Weaponized Fuel On The Acid Playa', looks ostensibly like it could be homage to old-school UR or its many Dutch copycats, but in sound, it hears back completely differently, feeling like a future electro hellzone in which all manner of evil mutant experiments remain on the loose. By far the best-produced electro EP we've heard in recent months, you won't be disappointed by the likes of Shcuro's 'Feel' or Driven By Attraction's 'Weaponize'.
Review: DJ Stingray 313's 'INDUSTRY 4.0' is a contemporary dazzler from the enigmatic techno artist. Seemingly at once a lament of - and an embrace of - the modern manufacturing concepts that impact and even construct humanity's contemporary self-concept, this techniciously high-octane new EP wrenches our modern psyches by the collective ear and abrades it like an existential rasp. 'Large Language Model' pummels our sono-somas with jagged electrobass hellpits and the occasional robotic voice interjection - "machine learning" - while the second act, 'Multi Functional Robotics' and 'Sensor Data', moves even less predictably, exuding aneurysms of wonky mindmelt toplines turned assembly lines gone maliciously sentient turned rogue. The music plays back like a forbidden dossier of infohazards; terrifying AI trade secrets you weren't meant to see or hear.
Review: Drivetrain and Jani Ho share some impression of the production process behind their latest record 'Manufaktured', an inspiring (industrial) techno EP whose front cover plays up the cogged, gear-ground factorial themes undergirding much techno. Sharing a side each for two sonic extrusion mouldings per side, Jani Ho is the first to press go on both the machine apparatus and the workers' timeclock, with 'That Detroit' and 'Destination' invoking instant recollections of the city in which both the car and techno vinyl record factory were born, first through shuttering chord-pulse frontage, then a torrential bleeplectro rear ender. Jani Ho call-responds to the A1 with 'Ripple In Time', an ultrasonic sixteenth-note maddener, before 'Violent Delay' provides some much needed chordal relief; ironically the least violent track of the bunch.
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: Two more French touch classics from Electric Mojo, who've been active since 2019 and continue to do the resuscitatory work of reliving the legacies of 80s, 90s and 00s classics most adjacent to French house and beyond. First came reissues of Cybotron, Freestyle and Jive Rhythm Trax - these were shortly followed by Daft Punk, Stardust and Together in another trivium - and now we've volume 7, which exhume two of Parisian duo Cassius's most samplerific romps to ever grace the international charts: '1999' and 'Feeling For You'. '1999' first appeared, magically, in 1998, nailing a pre-millennial hubbub in a single slice of discoised glamour, further spiced by cutup voxes and soul-sampled percs; 'Feeling For You' is an oddball too minimal for chart favour by comparison, though the heads'll think it just as infectious.
Review: Analog Concept Vol. 3 delivers a striking collection of forward-thinking deep techno, blending electro, acid, and sci-fi elements to push boundaries across its four tracks. Fasme opens with 'Crying Robot', a standout acid electro monster that's both raw and energetic, setting the tone with its sharp, robotic intensity. CCO's 'Solar Sail' follows, bringing a darker, sci-fi edge to the mix. Its blend of EBM and new beat creates a timeless, futuristic trip that feels immersive and cinematic. Side-2 kicks off with Unwonted's 'Frontier', a high-energy electro track laced with trance elements, adding a hypnotic, rave-ready vibe. Serge Geyzel closes the compilation with 'Flash', a heavy-hitting deep electro cut that dives into darker, alien soundscapes. Its deep techno undercurrents enhance the track's sense of foreboding and mystery. Overall, Analog Concept Vol. 3 captures a thrilling array of deep, futuristic sounds. Take a journey through techno's more experimental and atmospheric realms with this Russian label. Each track stands strong on its own while contributing to the cohesive, forward-thinking vision of the compilation.
Review: Felix Da Housecat returns to his squashy electro roots with 'Test Press'. A megaphoned monologue by the artist and vocalist NEZ straddles this serious slice of electro-house weight, urging the listener to give up the exclusive goods or work to procure them: "test. press. please." Then there's 'Simulator', laying down a humorously broken meditation on video-game playing and joystick flicking in the name of life, eking out the tricky contours of such a lifestyle with hyper-limited, mega-flattened snares and clacks. Finally, the 'Pressapella' appears as the remixable base with which you, too, might make your own version.
Review: Barcelona-based label Adepta Editions welcomes Serge Geyzel for their third release and it takes the form of six sizzling cuts with fierce tempos and thrilling sound designs. They are couched in precision beats after an eerie and tense ambient opener 'Before The Silence Came' then 'Take Your Time & Be Mine' explores weightless jungle. There is beauty in the fluttering brass of 'Come Closer' and more moody darkness to 'Out Of Context' that makes it a late night trip into the unknown. 'Its Cancelled' is a punchy and body-popping closer with dystopian energy.
Review: Rupert Hartick made quite an impression with his debut release on Pleasure Zone in 2022, and the eagle-eared out there might have copped his drop on Konfus last year. Now he's graduated to the unstoppable Rawax with a four-tracker of sophisticated tech house for the discerning dancer. 'Sweet Dreams' has a meandering, hallucinatory quality helped no end by the amorphous synth tones shimmering over the top of the slinky, shuffling beat. 'Wiggle System' is an entirely different proposition marked out by snaking electro with a mellow demeanour. 'Smokin Kims' is also electro in its construction, but there's a very different flavour to the synths, which warp and writhe through some exquisite sound design. 'Leftback' maintains the thoughtful, original approach Hartick takes across the release, all while offering a different slant to his productions focused more on brittle percussion and FX tweaking.
Review: The Fourier Transform label outlay an arresting sonic journey on their debut release, bringing together breakbeat, ambient IDM, ambient techno, and prog house under a single banner. Opening with Inkipak's 'Betwixt', we're met with sonorous low-mid square waves and machine-gun-fire breaks, recalling the breathtaking, verging on apocalyptic expanse of a warehouse rave turned laser light show turned warzone. We break from this warring weir with 'Omnicron Acid' and 'City Of Tomorrow' by Gimmik and Brian Kage respectively, which lowers the intensity and sonic flow via spacious atmospheres and dudding percussive pops. Finally, the perfect fusion of the former two moods is achieved on 'Corrosive Tongue', the lead synth on which sounds like just that.
Review: Jayse and Steve P are two DJs and producers hailing from Australia. As is often the way with music as quality and neat as this, they keep a generally low profile but their edits are deft and crispier-than-crisp, with their instrumentals - here titled simple 'Boogie A' and 'Boogie B' - sounding production-sharp enough to cut glass. Bordering on freestyle and funk, these are short slices of beat dazzlement, and also function as perfect songwriter fuel too.
Review: After a headturning debut release which soon sold out back in May, Detroit Basics is back with more magnificent machine music. And once again it is JR Disc who is serving up the sounds. 'Beautiful Blue Pillow' kicks off and sounds like Kraftwerk making funk electro complete with vocoder vocals and silky grooves. 'Mean Mugg' is a more rough and ready deep house sounds with frazzled synths growing ever more prominent and last of all, 'Under The Ground' shuts down with some stomping drums and glistening melodic pixels that rain down the face for a futuristic feel.
Review: Planka Records invites the listener to lend an ear to a life story with the 'Clandestine Club' EP, likening the enjoyment of the act of meeting to rave with that of hatching a gunpowder plot, doing swell justice to the motif of "underground" music. The music is apt enough to evoke this, with its cold waves of all-hallowed icesynth and analog horror motifs - instantly reflected in the opening tracks, Juaan's 'Perdido' and Natural Goofy's 'Voces Del Futuro' - truly giving off the sense of this being some apocryphal occult style having been driven underground. The B-siders, Alfred Holanda's 'Haribo' and Mas' 'Dangerosso', continue to post notes from down there, continuing the mood of a driven embolism, an involuntary movement of joy and feeling, despite the misanthropy that suffuses the record's hard skeletal, nigh existentially carapaced sound.
Review: The young but already impressive Headset label is back with a third outing and it is a various artists affair with a distinctly futuristic edge. Kami O's 'Blutak' rides on lurching rhythms that sway up and down with great force as percussion percussion and wiry electronics bring it to life. smiff's 'Blinker' is a broken beat with thudding kick and hits and clanging metallic sounds while Sweet Philly's 'Acid Siren Tool' is a raved-up jam ready to blow up the dance floor. Dubmonger & 9 Tails Fox tap into an old school,. high energy judge sound with darting rhythms and drilling sub bass nailing you to the floor on 'No Profit.'
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