Review: Ten Days Of Blue is John Beltran's second LP to date, from a distant-not-so-distant 1996, when a rush of neo-techno - on an intelligent tip - began to rush over the scene. The opening "Flex" is one of the greatest of its kind, a near 7 minute voyage of sparse drums, heavy bass and a level of euphoria that is close to match anywhere else. The truth is, however, that every tune on here is absolute fire, from the gentle IDM waves of "Collage Of Dream", the jazzed-out percussion of "Gutaris Breeze (6000km To Amsterdam)" and, of course, the knifty, pseudo d&b of "Ten Days Of Blue". There is so much more to explore, too, including the totally innovative techno of "Venim & Wonder". This gear really does sound like it was made the other day. Warmly recommended.
Review: Dan Curtin's 1994 album, The Silicon Dawn, is still a marvel even after 24 years of significant playback, and is still inspiring younger generations of producers who are interested in the more dystopian side of techno - very relevant, it seems. In fact, it would be fair to say that this LP has become a pinnacle of modern dance music, almost a framework for perfection, and it's not a surprise that it's absolutely killer from the very first track, "Intro", which kicks off a wild voyage into hyper-space. From "Parallel" to "A Flash In The Distance" there is plenty of deep-minded synth experimentation and acid bleeping, and this carries on through with the supremely modern "Population 2". It is a hard LP to describe in parts, precisely because it is so well interlocked, flowing from tune to tune with one single vision in mind - the outer realms of space and time. A true techno album, from a legend.
Review: Neil Landstrumm began his solo production in 1993, influenced by the Sheffield school of bleep as well as electro and Miami bass. His unique sound soon caught the ears of a wide variety of the world's finest electronic labels - going on to record for Tresor and Planet Mu among others and he remains one of the scene's innovators. Featured here are timeless classics such as "Takks" or "Sniff & Destroy" which nailed that similar kind of minimal funk that label mate Daniel Bell was creating at the time, through to the bang and clatter of frantic jams like "Swing/Jerk" and "Blam The Target" (Inhabit The Machines) which are still a true zeitgeist of early '90s UK techno.