Review: It's been a long time between drinks for Accident Du Travail, whose most recent release - a cassette of experimental, modern classical compositions for The Trilogy Tapes - was released way back in 2010. Tres Precieux Sang sees Julie Normal and Olivier Demeaux return to Will Bankhead's acclaimed experimental imprint. Stylistically, it explores similar territory to previous excursions, with the duo laying down a series of beat-less compositions built around droning harmonium chords, effects-laden woodwind parts, unsettling ambient electronics, and slowly unfurling textures. At times, it's curiously mournful, at others the music is strangely beautiful. Throughout, it remains both hypnotic and curiously intense.
Review: Ataxia are comprised of Detroit acid techno producers Eric Ricker and Ted Krisko, who made their debut back in 2013 with Canada's Clarian (Footprintz) and vocalist Cari Golden on an EP for Los Angeles based Culprit. They followed that up with a long awaited EP for Seth Troxler's Play It Say It last year and here we go again with the impressive follow up: Rave Oddities EP. From the minimalist and hypnotic spell casting of "Quicksand" which is very Motor City with its sense of funk and vaguely reminiscent of Mathew Jonson. On the flip, they bring some serious power with the epic rave energy of "Texas Is The Reason" with tunnelling hoover leads, gnarly Reese bassline and steely rhythms hammering the message home.
Review: After initial outings from phile and Ptwiggs, the Deep Seeded crew welcome phile member Barking into the fold for another excursion into crooked techno from the outer realm. There's a lingering sense of industrial malaise emanating out of "Singularity" thanks to some dense signal processing, while "Clay Passage" pings off into a strange but utterly accomplished trip into Fourth World techno that packs a serious rhythm without the need for obvious drum lines. "Pathos" matches malevolent beats and tones with dominant ambience to create a proper push 'n' pull of a track, and then "Prone" rounds the EP off with some gutsy analogue demolition for the broken techno and electro crowd to get wild to.
Review: When Oliver Chapoy is in the mood to make dark and deranged electronic music, he slides into the Certain Creatures moniker and things suddenly turn rather nasty. His debut came a little while back on Styles Upon Styles, a wonderful independent label that has showcased the likes of Brendon Moeller and Archie Pelago, and the producer returns to the label with a buzzing LP. The eleven cuts on here are totally genreless, loosely bound together by gritty, hollow drum beats and grey-scaled atmospherics. Although tunes like "Passages" or "Je Est Un Autre" are driven forwards by an abstract idea of techno, the tunes never steer too closely to one style, and together make for an ideal listening experience with a twist. Moreover, the changes in energy from the beginning to the end are similar to the pace of a live set in a club. Dance to it, nod to it, listen to it - it's a deep and mesmerizing experience.
Review: It would be fair to say that Population One's "Temporary Insanity", and its' accompanying B-side, "Multiple Choice", received mixed reviews when the 12" dropped earlier this year. Undeterred, Out Er has decided to get the best out of both of these Terrence Dixon-produced tracks remixed. There are some notable versions, not least Voiski's punchy mix of "Temporary Insanity", which manages to retain some of Dixon's restless energy, whilst adding a few more melodic touches. Elsewhere, Cosmin TRG's version of "Multiple Choice" is a wonky, minimal-goes-acid affair, while Pangea's booming, bass-heavy interpretation of the same track is a shuffling, broken techno treat.
Review: Hailing from Hong Kong and more commonly found recording as S.Y., this release is the first music the producer has put out as Dopamine Rider, and it's certainly a record that thrives on unpredictable rushes of chemicals to the brain, making it a perfect fit on Discos Capablanca. "$ LFO" sports a techno framework of sorts, but it's really a vessel for strange ripples of FX and one-shot tones, but then "Personal FX" ramps up the freakiness with some atonal machine whirring that sounds like it's been wrenched from an errant modular system. "John Cage Is My Homeboy" is positively delicate in comparison, but it's by no means straight laced, and "Sai Ying Pun" finishes this adventurous EP off with a strange drum track that adds a little spice to the DJ tool format.
Review: The mysterious Dream Weapons came through earlier this year with the Holger label's third outing, an EP which contained the lovely "Moonland" cut - a moody, lo-fi house cut for the thinkers. This time around, Holger have cherry-picked a couple of remixers to remould the tune into something totally different, starting with man of the moment Barnt (Comeme, Hinge Finger) who proceeds to inject some of his weirdness into the tune...a hypnotic bundle of synths is wound over apocalyptic strings and a steady kick drum. Jens Uwe Beyer, on the other hand, gets rid of all forms normality and chucks a 4/4 beat underneath what is basically a doom metal track - droning guitars and twisted vocals all the way!
Review: Valcrond Video continues its devilish run of form with this new single from Fallbeil, a project that has previously been spotted on New York Haunted, Return To Disorder and Mannequin. That should give you an idea of the kind of deviant sonics we're dealing with here, skirting around industrial, electro and techno with limber and dirty hardware jams for the sinister dancefloor. "Rolling Dutch" clearly nods towards The Hague way of doing things, all eerie pads, gnarly acid lines and rasping drums, while on the flip side "Rave On Plastic" pushes the bubbling monosynth action to the front of the mix.
Review: Escape The Matrix sees the return of NYC sewer dweller Gut Nose, back on the Styles Upon Styles label that issued his superb 2014 album Filthy City. "Ten 18" is a noisy, loopy roller with a chopped up vocal thrown into the mix. It also has a punky undercurrent. Such rough and ready elements are pervasive elsewhere on Escape The Matrix. "Moon Lasers" revolves around a loose rhythm, dubbed out drums and atmospheric textures, while "Drifting to Parts Unknown" follows a similar approach, albeit to a faster tempo and noisier soundscapes. Gut Nose is also adept at making more musical tracks, and on "Enjoy Thy Flesh" even embraces jazzy keys, but he's primarily interested in noisy, at the fringes techno, as the fuzzy, frazzled live drums on "Crafty Gambit" demonstrate.
Review: Antonio Marini aka Healing Force Project is back with the Tranhumanism EP on Ambiwa. Starting out with the ever mysterious "Methodical Ear", it's more of the same later on "Sinapsi Sonora" which like the previously mentioned track sounds like the dusty and emotive deepness of early Sound Signature via the tough and rusty swing of fellow Italians Relative; a nice touch indeed. He then gives us the brooding and hypnotic "Shadow Manipulation Of The Mind" awash in delay drenched organs and skeletal vintage drum machine flair. But the fierce yet restrained functionalism of "State Of Induced Hibernation" with its near tribal moments supported by a series of exotic and mindbending drones is pure bliss. We'll say it again: Marini is undoubtedly one of the most underrated producers in techno at the moment!
Review: If you're in the market for an otherworldly trip into deep space, this quietly impressive debut from I.M.J.U.S could just be the ticket. Taking the sparse and spacey feel of Drexciyan electro as its' base, the EP saunters between discordant, out-there ambient ("Insomnia"), hypnotic deep techno ("Welcome to Scientology"), wild alien funk masquerading as body-jacking techno ("After Orgie"), slow and slugy, industrial-influenced sleaze ("Untitled 6") and viciously pitched-up madness with added old school bleeps. It's a mixture that makes perfect sonic sense but also remains thrillingly surprising even after multiple listens. Certainly, we'd recommend it to those who like their electronic music tough, out-there and eccentric.
Review: Kassem Mosse and Mix Mup re-engage their MM/KM project for the debut transmission from The Trilogy Tapes and Palace - previously only available from the skate brand's London store or the TTT online shop!! Together the Leipzig pair were responsible for the excellent self-titled mini album on The Trilogy Tapes in 2013, but since then their joint efforts have been restricted to several fine remixes of TCB and Kowton for Die Orakel and Livity Sound respectively. This three-track 12" will satisfy the cravings of anyone that has been missing their decidedly esoteric approach to house and techno, veering off down a pitch-bent procession of rhythmic tones on A-side track "Tane" that is reminiscent of Beatrice Dillon. There is more of a wholesome crunch to "Chorus Beach" with thick and emotive pads that immediately lodge themselves in the listener's affections, whilst "Watching Gischt" is delightfully lopsided house music, the drums marauding drunkenly forwards with a delicious clomping sensation.