Feat Alessandro Cortini, Anna Homler, Christoph Fringeli, John Maus, Peter Rehberg, Russell Haswell & more!
Notes: In the 17th issue of zweikommasieben something that has been apparent from the beginning of the magazine - whose credo is to study the present - only seems increasingly true: in the supposed present, temporalities overlap and intersect. They burst out, reaching at once backwards and forwards.
The magazine features interviews with John Maus about the six years between the release of his last two albums, with Anna Sagstrom and Daniel Iinatti of Country Music discussing accelerationist force of globalization or with Alessandro Cortini on the private retrospective of 1970s Italy in Avanti. In those conversations the nature of time shows itself as enigmatic, fragmented and displaced.
On top, this issue features interviews with Anna Homler, Errorsmith, Further Reductions, Gabber Eleganza, Jasss, Ossia, Peter Rehberg and Renick Bell; conversations with Russell Haswell and between Christoph Fringeli, Simon Crab and Nigel Ayers; a portrait on Mmodemm; an essay by DeForrest Brown Jr.; columns on gender in dancehall ("Basslines"), authenticity of field recordings ("Track Down Fiction"), pictures from Georg Gatsas ("We Are Time") as well as poetry with "Sound Texts"; and contributions by Angoisse, Ipek Gorung & Ceramic TL and Jay Glass Dubs.
In zweikommasieben #17, the nature of time also shows itself in the design-a design initially looking for an aesthetic of speed but ultimately as much a reflection of pausing as of deceleration and acceleration. And in this attempt to give form to time, there's also the primordial-musical moment.
Review: Original music from Vancouver based producer NAP has been intermittent on the electronic music scene, but now the Isla boss has finally dropped a 12" of deadly, textured and fresh-sounding electro for our bodies and minds. "Transhumano" features ZDBT and has all the hallmarks of Stingray-friendly future shock machine funk, but the particular approach to pads and melodies has a distinctive, moody slant that chimes with the hazy sound of Canada's West Coast. "Anestesia General" is another needlepoint, uptempo workout that packs layer up on layer of darting rhythms and blippy synth lines into the mix. "Sin Sistema" completes the set with a more subdued but no less detailed box jam workout.
Review: LFT has already made a sizable impact on his gnarly, muscular brand of weathered electro and techno, and now he's been snapped up by Zement to deliver another four rowdy roundhousers. "Nucleon" channels the best of minimal wave and gives it a deadly dose of modern acid revelry that will incite fevered responses on the floor, while "Wounds" takes things in a spookier B-movie direction without shaking off those powerful 303 demons. "The Cure For My Kind" manifests as a kind of nightmarish electro, and "Hypno Haniwa" takes another route into machine funk for malevolent souls, with stunning results.
Review: Central Processing Unit chief CP Smith is keeping tight-lipped about the identity of the shadowy producer(s) behind the Secret State project. Smith describes this debut EP as "an attempt to rise above the all-pervasive, vacuous, decaying culture." We'll let you judge whether the men or women of mystery have succeeded in that aim, but we certainly think it's a fine EP. By CPU standards, it's a rather eclectic affair, flitting between druggy, arpeggio-driven alien funk ("CIA UFO Google Search"), ghetto-tech influenced deep electro (the wonderful "De-Pattern"), sparkling dacenfloor electro positivity ("The Sleep Room") and glistening, bass-heavy techno/proto-house/deep house fusion (sublime closer "Weep For Joy").
Review: For all his skills as a DJ - and, let's face it, he pretty much created the Afro-cosmic DJ style all on his own - Daniele Baldelli's productions have not always hit the mark. It's heartening to report, then, that this collaboration with Dario Piana for Leng Records is arguably the best thing he's produced to date. "Infinity Machine", where wild, effects-laden Clavinet lines, jammed-out electric piano chords and meandering synthesizer solos ride a particularly druggy arpeggio bassline, sets the tone magnificently, before the Italian duo jogs towards dub disco territory on the percussion rich "If You Drive". Badlelli's love of spacey synths, crunchy guitars and tactile synth bass comes to the fore on closer "Air Vibes", which also boasts a wonderfully tactile breakdown.
Review: New label Pointillisme Music return after some great releases by Disuasiv (Andi Parlogea & Dragosh) and the always impressive Ukrainian KiRiK. It's now over to Esoteric Workshop, who has released previously on Sensual and 87 Records and rest assured that the Zern EP certainly follows in suit. Starting out with the deeply hypnotic subtlety of "Travers" featuring a gentle broken beat, emotive pads and tripped out atmospherics: this one ticks all the right boxes. The remix of said track up next by Anestie Gomez stays faithful to the original, but gets dubbier by injecting more tempo and shuffle into the rhythm complete with a rolling bassline which works even better. On the flip, the mysterious producer experiments further with broken beats, like on is the classic Chicago deep house sounds of "Loren" and then back to four/four with the tough, electro-infused analogue driven groove of "Sera".
Review: Modular techno maestro and Freerotation big cheese Steevio is on fine form on "Zephyr", his first EP of 2019. He kicks things off with "Brawd", where undulating electronic motifs and faintly foreboding snatches of melody wind their way around a rolling techno groove, before offering up a swinging, off-kilter take on tropical techno rich in darting minor key melodies and jazzy sub-bass. Turn to the flip and you'll encounter two more chunks of modular dancefloor hypnotism: the slowly shifting, head-in-the-clouds throb of "Cysuron" and the melodious but off-kilter tech-jazz flex of hard-to-pigeonhole EP highlight "Rhyddid".
Review: Credo boss Alex Bau returns with some deep dub techno excursions on the fittingly titled Echo Echo imprint - a new Echocord sublabel. With previous releases on top labels like CLR, Kombination Research and Cocoon - you can trust this veteran A.M. specialist. From the glacial and cavernous "Clouds" and the introspective dub of "Contour" nailing that Basic Channel vibe of old. On the flip, we get two versions of "Zenstory". The first (prelude) being a chilling ambient version while the second is a stripped back epic that builds full of tension and suspense throughout.
Review: All good things come to an end. Part ten of ten in Ostgut Ton's tenth various artists' compilation and they've recruited some of their superstar residents to give their very best. Marcel Fengler's restrained fury on "Fallin' (feat. Elif Bicer)" almost sounds like something off the soundtrack of a sci-fi film where dramatic elements face off with Bicer's angelic voice. Etapp Kyle's "Nolah" is another example of his well executed hypnotic techno with a nod to the master himself Robert Hood. Finally Steffi's "Loweborschtel" is the kind of surefire sub-aquatic electro funk and the standard in quality you'd always expect from the Dolly boss.
Barker & Baumecker - "Love Is A Battlefield" (10:06)
Atom TM - "Stromlinien" (5:51)
Anthony Parasole - "Heartbeat" (5:19)
Review: The Ostgut Ton Zehn 12" series continues apace and lands on edition Sechs, which packs a triple trouble punch from Messrs Barker & Baumecker, Atom TM and Anthony MF Parasole! Responsible for one of our favourite Ostgut artist albums, Sam Barker and Andy Baumecker kick things off with their first original production in some time and the brittle, unpredictable hardcore manifestation "Love Is A Battlefield" has us hoping the pair will return with something more substantial soon. Ten minutes of ethereal techno at it's finest! On the flip, Atom TM takes it down a stripped back and dubby route with "Stromlinien" whilst The Corner don Parasole lays waste to the dancefloor with the reverberant elasticity of "Heartbeat".
Review: Alexis Georgopoulos, aka Arp, is based in Brooklyn, New York. Drawing on elevated kosmische atmospheres, minimalist classical composition, library, glam and leftfield disco influences, he has released music on RVNG, Beats In Space, Type, Opal Tapes and Emotional Response plus presented in galleries and like MoMA PS1 and the New Museum. A mutant offspring of diverse stylings, 2018's expansive Zebra LP is a post-everything symbiosis of ancient to future psychotropics. Using forward-looking production techniques, the album is a vast, shimmering prospect that emphasises points of connectivity, and pleasantly disrupts outdated boundaries between musical traditions, hierarchies and genre politics.
Review: Sangre Joven were a Peruvian band operating mainly throughout the 70s and, along with plenty of their own original material, the outfit also worked on versions of American funk classics, such as this reinterpretation, from 1975, of Elkin & Nelson's "Samba Samba". "Zamba Zamba" adds more flavor and percussion to the already tropical groove, making it an ansolutely addictive rhythm to own and play out on the dancefloor! The Matasuna imprint have gone above and beyond with this reissue, however, as Voodoocuts gets an edit in - it becomes more dance-centric and beat-heavy compared to the original cut. A quintessentially unmissable funk belter!
Review: Glasgow grime producer Konchis engages his Jetsam alter ego for a wavier sonic serenade than we're used to from him. Tapping into his dreamier, more emotional side for an album length narrative, the Scottish scientist switches from tripped out swooning harmonies wrapped casually over Dilla-ish beats ("End Of Stars") to woozy cries over fuzzy synth riffs ("Cathedrals") to soul-jarring deep sea strangeness ("Mermaids"). Otherworldly, cosmic and mischievously off-kilter, Konchis has found the perfect muse in his alter ego right here. One of a kind.
Review: Callum "Paleman" Lee is one of Swamp 81's most decorated artists, having released a string of well-regarded 12" singles for the hyped, bass-obsessed imprint. Yrs Ago is his third EP for the label's 81 offshoot, and sees him joining the dots between techno, post-dubstep bass music, and angular electronica. The title track sets the tone, with robotic voices, creepy electronics and smooth sub-bass riding a metallic, broken techno groove. Flipside "Animus" is a marginally more melodic affair, with spacey chords and bubbling arpeggio lines riding a punchy electro rhythm. Both tracks are naturally rather heavy, and undoubtedly amongst the producer's strongest work to date.
Review: Recently seen moonlighting under the Sexazoid name on Sling and Samo's excellent Born Free label, Arvid Wretman returns to his more familiar project, Your Planet Is Next, on a rather fine debut for Studio Barnhus. Some four tracks deep, the YPIN adopts a charmingly naive approach to the tropes of early Chicago house, from the title tracks ("Do You Want To Freak?") to the usage of vocals throughout. If you're not familiar with Wretman's previous work as Your Planet Is Next then this single should demonstrate there is a real humour discernible in his music. Crucially, it is also perfectly suited to the dancefloor and DJs will love the chance to throw some of these charmingly obscure vocals into the mix. Fans of Legowelt check this!