Review: 50 Weapons indulge Tony Williams's expansive take on current dance culture as Addison Groove. Put simply, Transistor Rhythm looks gorgeous, with design heavily indebted to Williams' clear passion for the Roland 808 and the tracks spread gloriously across two slabs of thick vinyl (there's an even beefier 3xLP version out too!). Musically, Transistor Rhythm explores the same areas of crisp, finely sculpted rhythms that have graced Swamp 81 and 3024 in recent times, with the smart sample usage on tracks such as "Night To Remember" complemented by a clutch of guest spots.
Review: Stepping up with his second album for 50 Weapons, Addison Groove is once again mining the rhythmic excitement of juke and footwork and working it into his blue-hued melodic headspace. Standout vocal cut '"Just You" is a prime example of the upbeat flavour across the album, while "11th" matches the plush harmonies with moodier switch-ups, and "The Spirit Level" drops the tempo into a house bump that lends itself to the illustrious synth sweeps. Typically though the beats are in that twitchy middle ground between dubstep and footwork, leaving plenty of space for razor-sharp constructions and dazzling edits as best demonstrated on the dynamic acid roll of "Space Apples". Chaos abounds on the B Side where Developer's frantic side is shown via "Promiscuous" whilst the tightly wound "Pulstar" is quite hypnotic.
Review: It's fitting that Benjamin Damage is the last artist to release an album on 50 Weapons. Apart from owners Modeselektor, he was also one of the first to feature on the label. Obsidian sees Damage straddle a fine line between the melodic and the atmospheric, the dance floor-heavy and the visceral. This is audible on the title track, where spacey chords are introduced over a rolling rhythm and on "Monolith", an arrangement that sees Damage fuse tribal beats with fragile, angelic hooks. Even though much of the album revolves around this interplay, there are also moments when the balance tips in the favour of the esoteric, and the lithe break beats and sensuous ambience of "Pulse Width" and "Shimmer" bring an end to Damage's relationship with the label in fine, introspective style.
Review: Modeselektor always promised that their 50 Weapons imprint would cease operations once it hit a half-century of releases. Given that this is the much-admired 42nd release, it would seem that the end is nigh. Naturally, they'll keep dancing till the bitter end, and here present two tried-and-tested floor-fillers from Benjamin Damage & Doc Daneeka, and Bicep. The latter's "Closing Sequence" naturally doffs a cap to rave-era sweatiness, but boasts beats, melodies and electronic textures more reminiscent of the short-lived progressive breaks sound (look it up, kids). Damage and Daneeka, meanwhile, lay down a deliciously dubby, hypnotic chunk of Germanic tech-house built around bustling, bouncy beats, relentless organ loops and shimmering, swirling synthesizers.
Review: Although he has flirted with dubstep, garage and house since his first appearance in 2007, Cosmin Nicolae's transformation into one of contemporary techno's most interesting figures was completed when he joined the 50 Weapons fray in 2011, releasing two twelve inches and an excellent debut album in Simulat. His follow up, Gordian, references an ancient myth and the music contained within is just as fantastical as the title suggests. The complex melodic arrangements of his previous album are expanded upon to great effect on tracks like "New Structures For Loving" and "Defeated Hearts Club", recalling the more exciting end of 00s minimal, while tracks like "Gordian", "Desire Is Sovereign" and "To Touch Is To Divert" are as forceful and driving as his Rush Hour releases; once again Cosmin has taken a great leap forward.
Review: You have to admire Laurent Garnier's continued desire to push boundaries and confound critics. His plan to devote 2014 to releasing five EPs on five different labels, whilst mixing up the styles, is undoubtedly bold. This three-tracker for the ever-intriguing 50Weapons imprint is particularly impressive. "MILF" bristles with stuttering analogue rhythms, foreboding chords and attractive bleep melodies, coming on like an unlikely jam session between Sweet Exorcist and Orbital. "DSK" sees the French veteran moving further towards his techno roots, while "He" sounds like an homage to darkwave with techno overtones and more than a hint of stripped-back early Chicago acid. Bravo Monsieur Garnier, bravo!
Review: After a long, well-publicised farewell, Modeselektor's 50 Weapons label finally bits the dust, bowing out with a release from the owners. For the fiftieth and final record, the German pair have recruited long-time Rhythm & Sound vocalist Paul St Hilaire. He brings his baleful, shanty style delivery to the intense, rolling title track, and if anything tempers the intensity of the massive, shimmering chord builds that unfold as "Trees" progresses. On the other side, there's "50 Trees". On this occasion, Modeselektor decide to drop out the beats and the listener is left to contend with dark, textured sound scapes, a chilling but evocative goodbye to one of techno's key imprints.
Review: Modeselektor are clearly keen to make 50 Weapons' last few releases as strong as possible. For this 12", they've turned to Berlin techno titan Shed, who - somewhat predictably - more than delivers the goods. "Dark Planet" is a thick, tough and driving beast, with chopped-up, manipulated vocal snippets forming a quirky melody line above a thumping rhythm that neatly combines pounding kick-drums and hissing cymbals. This is no-nonsense, floor-friendly techno that comes laden with sly funk. Modeselektor themselves have a go at remixing it on the flip, delivering a far weirder, wilder, stranger and - bizarrely - more melodious 'broken techno' interpretation.