The Industry Of Dreams (Jeff Mills Commentary) (1:52)
Review: For those new to Jeff Mills' vast - and largely incredible - back catalogue, the Director's Cut series should be essential. Like its predecessors, this fourth volume gathers together various versions of killer cuts previously produced and released by the Motor City legend over the past two decades. Highlights include deep space techno workout "Deadly Rays (Of A Hot White Sun)", the densely layered African percussion, low slung bass and echoing organ stabs of "Gateway Of Zen (Percussion Mix)", the bleep-heavy electro/techno fusion of sweaty workout "999" and the alien-sounding, minor-key hypnotism of "The Industry Of Dreams". Each track is accompanied by a separate "audio commentary" from the man himself, which is ideal for those who love to hear artists talking about their work.
Review: The latest record from Georgia's Bassiani label comes from L.I.E.S. veteran Voiski. True to the label (and club)'s style, it's a release that celebrates interesting, bold expressions within the realm of techno. "Chasing Shadows" is certainly a track with the kind of freaked out atmosphere that you also heard on the recent HVL album, admittedly with an extra dose of edgy synth working its way through the core. Whether it's high speed tripping or dubby incantations, Voiski brings vitality and character to the well-worn realm of deep techno.
Review: IDM legend Steven Rutter has been presenting some awe-inspiring electronic explorations on his FireScope imprint in recent times. The label's latest instalment comes from British producer Miles Atmospheric Sagnia, whose classic techno perspectives on the SkyHealer EP sound right at home here. The Atmospheric Existence Recordings boss moves wonderfully through the deep shades of techno soul ("Exoplanetology"), chilled-out and dub-inflected electronica ("Our Future"), classic hi-tech soul ("Waters Of Life") and highly engineered electro of the most evocative kind on the brilliant "See The Light".
Review: Between 1996 and 2010, Move D and Pete Namlook recorded 24 collaborative albums, offering up an otherworldly blend of dreamy deep house, hypnotic techno, deep space ambient and jazz-tinged soundscapes. Sadly, none were made available on vinyl, making this EP a must-have. On side A you'll find two cuts from 2001's "Move D/Namlook VI - Live In Heidelberg": the acid-flecked dirty techno hypnotism of "Footer" and the dubbed-out ambient/jazz fusion of "Der Bergkonig". Over on side B there's a chance to enjoy the epic 2010 cut "Stranger", where the pair wrap sampled speech, twinkling pianos and enveloping aural textures around a suitably deep and tactile tech-house groove.
Review: Latvia's Blind Allies continues its series of crucial various artist trips into the underbelly of ravey electro, with another cast of underground operators on the buttons. RNBWS brings a hefty dose of old-skool bleep magic to "Engage", before stripping things back for the cool and deadly "Backtrack". Caprithy's "Smoky Sunday" has a seductively sinister side to it, while CYBEREIGN's "Accelerate" keeps things tuff and taut. RNBWS returns on the tripped out "Little Things Important", and Universo completes the set with the vintage tape-warped tones of "Mercury Retrograde".
Review: Thomas Berg's Soundscape Versions presents the third instalment on sublabel Mystic Versions with four unknown cuts by different artists across the globe, produced and performed using all analogue hardware gear. Sublime dub techno experiments captured in all their glacial and cavernous intensity, from the deep minimalist groove of "A1", the thumping delay-drenched reduction of "A2" to the housey and uplifting feel good vibes of "A4" with its jazz-bar loops. It's about quality over quantity on Mystic Versions and the wait has most certainly been worth the while.
Review: Somewhat surprisingly, this tasty 12" marks Years Of Denial's first solo release since 2016's "Blood Debts" LP, an intoxicating, otherworldly fusion of industrial, EBM, experimental electronica and mind-bending rhythmic noise. The Italian artist hits the ground running with "Crow", where drowsy, stylized spoken word vocals echo above tight acid flashes, moody bass, doom-laden chords and bustling drum machine beats, before rushing towards throbbing EBM territory on "Body Map". Over on the flipside the Mascara-clad fun continues on the clanking industrial-meets-electro warp of "Love Comes And Goes" and the guitar-laden moodiness of closing cut "Cold Blooded Hands".
Review: Sheffield based event series (and now label), Groundwork, has been running small parties in intimate spaces, with the aim of pushing local DJ's in a relaxed, non-commercial environment. Inaugurating the imprint is 18-year-old newcomer Porter Brook with his debut EP which effortlessly joins the dots between breakbeat, techno and UK bass. From the deep neo-junglist stepper "Exit 14th Street", barrelling techno banger "Dipole" (laced with bustling drum machine breakbeats), to the intoxicating, contorted experimental twist of "K41 018 BXH9", this is a quality debut from the Steel City. Let's hope it won't be too long before we get a sequel.
Review: If timeless warehouse music and bass-heavy rave revivalism is your thing, there's a fair chance you already own some Soundbwoy Killah records. Whether you do or not, we'd heartily recommend checking the shadowy producer's debut album, "Halcyon Daze". It's little less than a breathless, saucer-eyed romp through heady fusions of dreamy UK garage, melodious jazzy jungle, loved-up breakbeat hardcore, African-influenced tribal percussion and gargantuan low-end pressure. It's all arguably a little more relaxed and sunrise-ready than some of his 12" singles - this is an album, after all - but that's not a criticism: in fact, the album's sporadic ambient moments are uniformly excellent, sounding like long lost early 90s classics.
(Let Everybody) Join Hands (It Could Be An American mix) (6:33)
Feel The Power (The Music Can Give) (The House Nation mix) (5:03)
Storm (The Doody Dodgy mix) (5:09)
(Let Everybody) Join Hands (The Latin Love Affair mix) (4:19)
Review: For the first time since 1997, Laurent Garnier's earliest studio productions are available on wax. "French Connection" harks back to 1991, a time when Garnier spent a lot of his time travelling between Paris and Manchester. It was in the latter city that he met Mix Master Doody AKA Dream Frequency's Ian Bland, an experienced producer and studio engineer who co-produced the EP's six cuts. Musically, "French Connection" has stood the test of time better than a lot of dancefloor-focused music from the period. There's something wonderfully naive and glassy-eyed about its endearing mixture of heavy techno rhythms, post-Chicago house beats and loved-up, hardcore-era elements (piano riffs, female vocal samples, and so on). Crucially, all six cuts would slip easily into many contemporary house and techno sets.
Review: Silent Season's mainstay artist Segue returns with a new album, following up on the well-received immersion of his 2016 LP "Over The Mountains" with further explorations in the hinterland between dub techno, ambient and a more pastoral kind of palette. It's a field he's well versed in, and one that typifies Silent Season's approach as well, but there's plenty of fresh ideas to latch onto here as Segue weaves gorgeous threads of melody around tactile, mossy beds of sound and understated grooves that carry you to far away, inviting places. Even the more pronounced dub techno stylings of "Mirage", for example, sound vibrant and invigorating in Segue's hands - another sterling album from an accomplished producer.
Review: After years spent offering up impressive blends of ambient, drone, electronica and experimental drum and bass as ASC, James Clements has decided to commit more time to Comit (sorry), an alternative project which first surfaced via a debut single in 2016. Here the San Diego-based Brit delivers a first full-length excursion under the alias. There's plenty to soothe and seduce on the eight tracks stretched across two slabs of wax, from the undulating, occasionally skittish beats and sweeping chord sequences of opener "Behind Dulled Eyes" and the icy, doom-laden electronic melancholy of "Reverie", to the early Black Dog Productions flex of "Clouded Over" and the dubbed-out, slow motion bliss of "Soft Focus".
Review: Last year Paulo Mosca made his vinyl debut on Where We Met as one half of Venetian duo Micro.Solchi. Here he makes his solo bow via a four-tracker on Slow Life rich in vintage influences. "Interstellar Interruption", for example, sounds like the kind of far-sighted UK-US techno fusion that could have been featured on a Nexus 21 EP from 1990, while the organ-sporting techno-funk of "Cosmic Love" boasts bleeps that could have been taken wholesale from an early Warp 12". The producer's inherent funkiness is showcased further on brilliant opener "What's Their Name?" - all squelchy bass, Derrick May style drums and jaunty sci-fi lead lines - while "Star Wars" wraps decidedly spacey pads, warped lead lines and dubby bass around a shuffling breakbeat rhythm.
Review: Fernando Zapico AKA Z@p is one of those producers whose work is always worth a listen, primarily because his quality threshold is very high. This two-track missive on My Own Jupiter picks up where his recent EP for Japanese imprint Cabaret left off, delivering faintly foreboding futurist techno whose sci-fi inspirations are clear to hear. A-side "Brutalismo" sets the tone, with paranoia-inducing analogue bass, creepy synth stabs and swirling electronic textures rising above a punchy drum machine-driven groove. "We Control The Sound" is notably denser and a little darker, with sturdier beats, moodier chord sequences and a bone-chilling breakdown.
Pimping People In High Places (Woodword Ave alternative mix) (6:50)
The Medusa Touch (6:52)
Review: Gary Martin is well known for his unique productions and his label Teknotika is surely a classic coming out of the famous motor city. This special 10" holds two sought after tracks that were found on a lost DAT tape by Yossi Amoyal and Gary Martin himself. On the A side we have a long time secret weapon, it's a hypnotic groove that was heard on many classic sets, Zip and Ben Klock to name a few. An extremely insane, hard to find Gigi Galaxy track that was changing hands for silly prices is on the B side, for those who know... massive release!
Review: Proud and in charge, Exzact returns with more unfaltering electro aimed at the purists in the room while still exploring avenues that will appeal to ears of a wider sonic disposition. Three tracks of broken futurism all equally accomplished and irresistible. 'Feeling' is perhaps the most upfront here, its arpeggiated introduction building atmosphere before beats drop that can only really be described as fresh, picking up tracking high-hats as things progress before introducing an echoed synth arrangement plucked straight from Bladrunner's deleted party scene. The BFX remix throws in four-to-the-floor sections, using these to build tension, breaks acting as explosive moments to unleash the true vibe. Kenethetic joins on the high pitched 'Above', while man of the moment- in this genre at least- Brice Kelly turns said track into a moody, evil work of genius.