Review: For the fourth and final edition of Matthew Herbert's Parts series, we have four further reductions from the UK producer's back catalogue - all in his idiosyncratic style. Timeless minimal house that has truly stood the test of time and sounds as captivating as it did over 20 years ago. Part Four came out on Phono back in 1996 and is reissued here on Herbert's Accidental imprint. From the dubbed-out heroin house of "Pen", the crunchy robo-jack of "Pump", more blip, blurp and bleep on "Take Me Back" or his knack for simply straight-up and emotive deep house as heard on the utterly sublime "Resident". The tracks on here are still relevant in today's musical landscape and completely essential, in our humble opinion.
Jamie Lidell - "When I Come Back Round" (live version - Matthew Herbert long Night dub) (7:42)
Matthew Herbert - "Megaphone" (7:20)
Review: The ACJ94 EP comes courtesy of Accidental Jnr, a new sub-label of Matthew Herbert's Accidental. Here he presents a remix of Jamie Lidell's "When I Come Back Round" from 2005's Multiply. Entitled "Live version - Matthew Herbert long Night dub" it's a much more raw and funky take on the track with tough drums and emotive elements where the source material is, like its name suggests, from an appearance on an L.A. radio station from some years ago. On the B side, we have the man himself Herbert with a new track entitled "Megaphone" a classic and proper deep house jam for the late night that's expertly crafted by the artist who has brought us such timeless classics like "See You On Monday" amongst many others.
Review: Valencia's Alex Font has released or remixed previously on the likes of Nervous, Multi Vitamins and Nite Grooves but returns on his new Acme imprint with a full length. On the Sabor LP, he joins the dots between rolling maximal house ("Visionaere"/"Los Hombres De Negro"), deep and drugged out after-hours shenanigans ("Latin Rhythms"), spacey microhouse ("A Little Spicy") and even a bit of traditional latin jazz on the quirky closer "La Rumba No Tiene Horario". Recorded and released since his return to his homeland after a three year stint in London, it's all in all a brilliant effort by a talented young producer and he's definitely still one to watch!
Review: After a two-year absence, Aline Brooklyn - New York's surprise home of Romanian style minimal techno adventures - has returned with a bang in 2019. They've launched the "Original Series", with March's debut release from Mihai Pol being followed by this eight-track album from Nico Laa and Juan Cristiani. The pair begins in confident mood via the melodious tech-house funk of "Drastic", before wrapping chiming lead lines and spacey electronics around a low-slung groove of "Mars". More warm, deep house style motifs can be heard on "Good Morning Brooklyn" and the bumpin' goodness of "New York", while "Loop People" is a hazy, minimalist jack-track. Elsewhere, "La Rose" is woozy, dreamy and quietly picturesque (despite locked-in tech-house beats) and "Senor Lopez" is snappy and funky in the best possible way.
Review: For a small label with minute sounds, An dromeda is a heavyweight when it comes to releasing the finest in experimental, sparse and dub-laden, extra-ordinary minimal techno. Vid inaugurated the label in 2012 and now provides the outlet with its first album via a triple 12". Should you find the early releases of Giegling appealing, its likely Vid's debut LP will be of interest too through its poppy beats, watery undertones, balanced percussion and dynamic piano manoeuvres. Productions plunge deep without the need of booming kick drums as demonstrated in "Pasul Unu", or the looped chords of "Tripusor", while rustic tribalisms form in "Landrum Bun". An intriguing album transforming how we perceive the micro-isms of danceable electronic music.
Review: Apollonia co-head and all-round Parisian legend Dan Ghenacia steps up for his label's latest release. On The Egg EP, you can really hear the various shades of French house presented by a true expert who lived and played throughout the city's best times for over two decades. From the sexy and slinky late night bounce of "A La Coque" which could have been easily played at his Batofar residency at the turn of the millennium, and the tripped-out and slammin' shuffle of "Mykonos Huevos" (taking the best of early '90s Chicago) to the emotive dancefloor drama of "Sunny Side Up" taking on the very best of Detroit influences such as Terence Parker or Blake Baxter.
Losoul - "Love Supreme" (Its All In There mix) (9:57)
The Moul - "Love Supreme" (Drum mix) (4:40)
Metaboman - "Love Supreme" (Metabomix) (5:57)
Dave Aju - "Love Supreme" (A Dub Supreme mix) (8:10)
Ark Pit Spector - "Love Supreme" (A Rush Supreme) (6:14)
Ark - "Love Supreme" (Free mix) (7:06)
Review: Parisian oddball house legend Ark teams up again with fellow local and Prospector head honcho Pit Spector to inaugurate Ark Records. A longtime in the making no doubt but worth the wait. Love Supreme LP as the title suggests is a tribute to the legendary John Coltrane and the pair have drafted a who's who of deep house and minimal to lend some hands and ears. Highlights include The Mole's "Molemix"; a sublime serving on reductionist bounce, Frankfurt genius Lo Soul who is as brilliant as ever on the sublime and hypnotic "It's All In There Mix" and Ark himself with his "Free Mix" which is as dusted down and as funked up as we all like it!
Review: The good doctor San Proper adds Russia to his ever prospering discography, providing the Moscow label Arma Records with its eighth release in the shape of the Pet Master EP. If you are familiar with the Dutch producer's work, you'll know what to expect on the three tracks here with San Proper coming across like a randy Villalobos at times. The Barca Jack Mix of "Pet Master" is taut and groovy, with drums that smack your senses underpinned by heavy sub bass crunches, whilst the Tettero collaboration "35" is spacious house music that has that trademark San Proper fonk. There's hints of classic electroclash in final cut "Feline X" thanks largely to the killer punk funk bassline that's wedged deep into the channels.
Review: This time the Mojuba sublabel brings us the second part of the 'Detroit' series by the label owner Don Williams himself. This one-sided
record features two fine examples of music inspired by the city of D. The first one is a pumping, peak-time cut to hit the dancefloors with
and might become an essential tool for the ambitious DJ. The second track convinces in its very own character, providing a feeling that
many will recognize from the early years of techno, when this music was connected to the listener in a more deep and emotional way.
Review: Something Records boss, elusive production room deviant, raw house outsider, and Perlon regular, STL, rises back up from the shadows and drops a new EP for Portugal's low-key Assemble Music. As per usual, he's cool, he's tight with his beats, and he means business; "Crank Notion" itself is a bubbly, playful house number complete with the man's signature percussive twist and deranged pseudo bells - all in all, an effective DJ tool with an edge. Over on the flip, "Neat Buzzl" gets all the love from us; a woozy, dark and cavernous techno bomb with a slow pace and a mean lean. It's exactly the sort of gear we want to be pulled out at 4am. Choice cuts, as always.
Royksopp - "What Else Is There?" (Trentemoller remix)
Trentemoller - "Gush"
The Knife - "We Share Our Mother's Health" (Trentemoller remix)
Trentemoller - "Kink"
Review: Audiomatique are happy and proud to present "The Trentemoller Chronicles". This new double album is not a new studio album, but an overview of Trentemoller's impressive body of work. "The Trentemoller Chronicles" include Anders' personal selection of his best songs and remixes, which have only been available on vinyl or on compilations, as well as some new and exclusive songs. This is an essential piece of minimal/tech house.
Review: Bwana aka Nathan Micay has already seen a release on Will Saul's Aus Music and his fluid, freeform house music returns with "Tengo", a melodic progressive house nugget that's both spacey and fit for any dancefloor. The same goes for "Drop Mechanism", an ethereal house stepper, while "Due West" goes in a lot harder with a vicious bundle of Power House drums punching and kicking their way across its chords. Effective floor bombs.
Review: Former Panorama Bar resident and local Berlin fixture Cassy Britton presents her first full length release since giving up her residency and leaving Europe's clubbing capital for the sunny shores of Los Angeles. The Donna LP features some dusty classic house sounds of the deeper spectrum, as heard previously on her eponymous imprint, Uzuri or Perlon sporadically over the last 10 years and her great vocals which veer from spoken word, haunting/monotone to high pitched diva moves are a constant throughout. Highlights for us were the uplifting deep disco of "All I Do", the soulful deep funk on her cover of Prince's "Strange Relationship" or the emotive yet tough techno of "Move".
Review: As the recent label compilation proved, Will Saul's Aus Music are dealing in strictly heavy hitters these days and they don't come much bigger than Paul Woolford do they? Heaven & Earth looks to be Woolford's latest concept-laden 12", arriving a few months after the Spesh Request man laid down the Mother & Child single for Hotflush. Split into two parts, "Heaven & Earth" finds Woolford channelling a rich brand of tech-laden house music and one that is adorned with swooping orchestral flourishes amidst the thick swathes of bass. The more pared-back part II just nudges it for us.
Review: Inside Out is a brand new series from Aus Music label head Will Saul. It invites DJs and producers to blur the boundaries between traditional artist albums and mix compilations. The concept encourages them to showcase their own music, or the music of those in their own individual circles. Depending on who is curating, it will take different forms. The idea stems from Saul's own approach in the club, which often finds him seeking out brand new and unheard music to play for the first time. There's a strong Detroit techno aesthetic throughout his inaugural release for the series: from the emotive hi-tech soul of his own collaboration with Komon entitled "Positive", Amsterdam legend Gerd had no problem channeling similarly timeless retro vibes either, as heard on the funky techno-soul of "Echoes". They save the best for last on the flip, with the legendary Floorplan's riveting rendition of Primitive Trust's "Little Love" - perfect to get that 3AM style strobe-lit tunnel vision in effect.
Review: After a quiet 2016 thus far Och's Autoreply label is finally back in action with a frankly fantastic selection of workouts from Mark Broom. In keeping with the style Broom has been exercising in new Perbec jams with Baby Ford, this is more restrained than the muscular techno Broom can also be known for. Instead, you get expressive, satisfying house tracks such as "18.2" and the neatly pumping "10" with its killer array of synths to satisfy the dancefloor and the mind in equal measure. Avoiding unnecessary fireworks in favour of perfectly chosen and shaped elements, this is a glittering demonstration of Broom's cool-headed approach in the studio.
Review: Last spotted on Vakant, Detroit's man of mystery returns to D'Julz' Bass Culture after four years with three more rough, warm Motor City jams. "Castaway" takes off without so much as a compass. Heading towards the light with every added rhythmic element and cascading arpeggio, it drives into the horizon with equal measure of focus and looseness. "Doin It To Ya Baby" takes a subaquatic disco approach - the wide beats are wrapped in subtle slapbass twangs and dubby overlays while "Wara Coco" is a trippier twist into the shadows as raindrop textures trickle over a low and slow groove and incessant humanised loops. Remix-wise Orlando Voorn peppers the lead track with a little analogue funk and mild acid tweaking. After this castaway you'll never want to come home...
Review: It would be fair to say that no other artist is quite as associated with Bass Culture Records' "Limited" offshoot as Mihai Popescu AKA MP. In fact, since the series' inception in 2016, he's provided all but one of the releases. Thanks to this latest 12", that remarkable record stays in tact. The Romanian producer explores his more positive side on opener "Start Get Yourself", a clever combination of sweaty, jacking machine drums and fluid, watery and downright dreamy electronics that runs for eight mesmerizing minutes. Flip the disc, first for the deliciously bass-heavy and bumping "Generation House", where jazzy electric piano motifs rise above a swinging rhythm track, and then the early British tech-house lusciousness of "No Bullshit".
Review: Given that Ricardo Villalobos was one of a handful of guest producers who featured on Oren Ambarchi's recent Hubris album - a krautrock-influenced minimalist techno exploration that also boasted contributions from Jim O'Rourke and Mark Fell, amongst others - it seems fitting that he's been roped in to provide two new remixes. The Chilean's contribution to the album was largely rhythm-based, and his two lengthy Variations - each stretched across one side of wax - promote undulating, heads-down dancefloor hypnotism above all else. Naturally, his drum programming and use of subtle stylistic shifts is as on-point as ever, with Ambarchi's original textures being manipulated into mind-altering new shapes.
Review: Commonly found rocking out on Unison Wax, Constant Sound and Pleasure Zone, Diego Krause is a certified mover and shaker in the minimal house scene, and he's on fire with this latest round of missives for Blind Box. "Malice" leads the charge with a plethora of eerie synth textures flexing organically round the sturdy beat, while "Monolith" slips into a slinkier groove while keeping the tripped out tone tweaking at the forefront of our minds. "Return" brings a tougher, fist-pumping rhythm section with a snaking syn-cussion tones trickling throughout, providing Blind Box with plenty of material to sink their gnashers into on the remix.
Review: Blind Box heads Julien Sandre and Konstress know a thing or two about deep, undulating house grooves, and their continued exploration of immersive cuts for hidden corners of the dance yields further delights on this sixth instalment in the Blind Box series. The first side of this 12" finds the two label bosses twisting out immaculate jams shot through with playful sound design. "Would" locks into a subtle swing and revels in lopsided synth stabs, while "Hedone" plunges into a stunning intricate techno landscape peppered with glitchy tones. On the flip, Julian Alexander follows suit with the crisp, funky "Baku Man" and the more experimental tones of "Casserole".
Review: Sometimes, a single side of vinyl is all you need. That's certainly the case here, as Where To Now regular Beatrice Dillon delivers her most impressive and mind-altering club cut yet. Across a mesmerizing 13-minutes, Dillon distills the essence of Minimal techno, dub, West African rhythms, early jungle and experimental noise into one, constantly evolving dancefloor burner. While the blazed vibe of dub, and the crackle of vintage vinyl are ever-present throughout, it's the subtle shifts in rhythmic emphasis - from 4/4 to breakbeat, via intricate polyrhythms - that make "Can I Change My Mind" such an alluring prospect. Few 13-minute tracks can captivate a dancefloor throughout, but this certainly can.
Review: Dear friends of Boxer Sport. Our emotions are hopping mad. After almost a year, Andre Dalcan & his buddy Greg Delon (aka Delon & Dalcan), the driving forces behind Scandium, are back on Boxer Sport with fresh stuff for your turntables, "Freaky Under My Skin". The remix comes from Martin Eyerer. A slick, rocking track that will make Odin swing his mace deep down into the hell of bass.
Review: Sascha Funke has been a busy man this year. After several 12" releases and remix projects, he finished his second
album in his new studio. You can definitely hear, that Sascha still has the six months he spent in Aix-en-Provence in his
mind. Sacha's new album goes by the beautiful title 'Mango', out on the Bpitch Control label, and it is just great. Gernot
(one half of Modeselektor) was really digging the new tracks, when he first heard them he asked for a copy right away,
as according to him "this is the most mature music Sascha ever did". Like its forerunner 'Bravo', you can expect nothing
like 08/15 speed- techno with 140 bpm - but a fresh and direct, catchy sound. Sascha's demand for techno, amongst others,
is the directness that is created by the structure of his tracks. On the other hand, you can associate something with every
single song on the album. Mr. Funke definitely found his style and knows how to prevent boredom. Every track is full of surprises.
'Mango' is the perfect opener for this album, as it begins to slowly introduce the emotions of the further tracks.
Review: Carl Craig's annus mirabilis for remixing continues in similar vein as his work on Theo Parrish and Delia Gonzales, the take here of Bobo Shanti's "Poor People Must Work" should be hugely popular at all this summer's parties. Rhythm & Sound construct, by their own admission, a hard-steppin-funk Basic reshape of Willi Williams' by-now epochal "See Mi Yah" a true dub anthem for the dancefloor.
Review: What really impresses about Meteorology, the third album from post minimal adventurer Daniel 'Frivolous' Gardner, is its cheeky playfulness. Sure, there's a minimal-ish swing to the beats and liberal use of crackly noises, but these are offset by deliciously melodic bounce, a wonderful sense of adventure and even the odd nod to jazz. Gardner regularly gets on the mic to add his own bittersweet vocals (see the swirling noughties jazz-house of "Red Tide"), and thinks nothing of offering up both Nicolas Jaar-ish experimentation ("One Fine Solstice", "Lunar Phaser") and global dancefloor fusions (the tango-techno of "Cinemascopique", chiming "Olstagia" and thrilling "Serenades Des Excentriques"). It makes for an album that entertains and exceeds expectations throughout.
Review: Arno E Mathieu has been a part of the enlarged house movement since 2005. Yes, that's 12 years in service, which means that he's kind of a veteran by now. This, however, is no surprise; the producer's work is carefully crafted and, whether he's making progressive or tech, he has a clear ability to catch the dancer's attention with some pretty seductive grooves. He's back on his favoured Clima label after a few years dipping and diving into other imprints, but it's like he's never been away. "Circumstances Of Chaos" is a wide-eyed, big-room kind of tune that stabs its large drums to a raucous tempo, while "7 Janvier 2015" breaks the predictable 4/4 groove into a sparse nu-jazz sort of lick for the deeper ends of the DJ set, and "Together?" ties the EP off to a close with the help of a steely house structure accompanied by warm waves of dubbiness . A magnetic outing from this reliable producer.
Review: The annual Cocoon compilation is a perfect snapshot of what's going on in the more popular corners of the European techno scene. Curated by label head and Ibiza party king Sven Vath, this year's edition is a comparatively deep and melodic affair. A big shout goes to Talaboman for their excellently entitled "Big Room Anthemic Groovy Pounding Trance Dub Bomb Superb!" which is indeed a big room anthemic groovy pounding trance dub bomb, while Edward serves up a more twisted roller (the excellent "End Days"), Raxon goes deep with "The Turbulent" and Mark Broom hammers home with tripped out sci-fi banger "Jaded", amongst many other gems.
Review: Over the course of a long release history Swiss duo In Flagranti have been seemingly quite happy to follow their creative urges, endlessly recycling their stylistic approach regardless of whether the results garner commercial and critical acclaim. This is very much evident on Skematic Tracks Vol. 2, with lead track "Hannya" discarding with their more recent heavily edited and smutty punk funk strut in favour of an understated and quite moody, reverb laden dub techno approach whose off the grid rhythmic base bears similarities to the recent Body Music EP from Powell. The equally unusually named "Magojiro" will probably find more favour with In Flagranti fans, a house jam that crams in plenty of disco infused funk, though like many tracks from the duo it plays out like one long tease. A rather large and unusually SFW poster is included.
Review: Originally prolific in the late 90s and back with a renewed sense of vigour in the past few years, Dan Piu's classic, widescreen vision of hardware techno captures the verve of the original Detroit blueprint while bringing a fresh, welcome energy to the genre. This drop on Common Dreams brims with the same head-swirling magic, especially on vividly rendered lead track "Halo City". "Falling Framework" has a more mellow veneer, but there's still so much playful detail bringing the track to life. "Akira 2171" has an old-skool sci fi quality balanced out by its linear sense of progression, and "Ilipsyon" takes things deeper into a wistful jack reminiscent of the spookiest Trax output.
Van Hai - "Dernier Armour" (Ripperton No Love Lost Reshape)
FaltyDL - "Some Jazz Shit"
Mr Raoul K - "Sene Kela" (feat Sona Diabate - Mr Raoul K & Laolu version)
Gabrielle Poso - "Roots Of Soul" (Atjazz remix)
Karim Sahraoui - "Father's Legacy"
Rancido - "The Encounter" (feat Kems)
Montezumas Rache - "Wu Du Wu"
Matanza - "Existencia" (Acid Pauli remix)
Peter Kruder - "Memento"
Marsmobil - "Saan"
Butch & C Vogt - "The Infamous"
Chaos In The CBD - "Digital Harmony"
Axel Boman - "Nokturn (Grand Finale)"
MLIR - "Spanish Lo-Life"
Tribilin Sounds - "Negroide"
Tony Allen - "African Man" (Ricardo Villalobos & Max Loderbauer remix)
Manuel Tur - "Ela"
Lagerfeltz - "Uitaar"
Jonny Faith - "Dapple City"
Bing Ji Ling - "Twilight"
Review: In the early-to-mid 2000s, when nu-jazz was at its' peak, Compost Records' annual Future Sounds of Jazz compilation was always essential listening. This surprise 13th edition appears five years after its' predecessor, re-introducing the series to a whole new generation of listeners. Happily, its' every bit as essential as the series' earliest installments, and draws together all manner of jazz-leaning productions. You'll hear a string-drenched broken house gem from Falty DL, some Afro tech-jazz from Mr Raoul K, a supremely Balearic rework ofMatanza's "Existencia" from Acid Pauli, an epic electro-jazz throw down from Butch & C Voigt, and an essential remix of Tony Allen by Ricardo Villalobos and Max Loderbauer. Throw in fine contributions from Peter Kruder, Axel Boman and Chaos In The CBD, and you've got an essential collection.
Review: After debuting his Pakzad moniker on Infiltrate last year, Justin Pak makes the leap to Burnski's Constant Sound with this assured set of electro workouts built for the modern age. "Timeless" is a snappy, vibrant cut with a serious amount of techno propulsion to match the crooked funk of the beats. "Clutch" has a more trippy, melodic twist, while "Correlation" hunkers down into a more backroom vibe as detailed as it is freaky. This is seriously executed electro from a fast-rising talent - nab a copy, drop it into a set and watch the bodies writhe.
Review: Commencing proceedings on the Construct label comes a release from the newly formed partnership of Kitty Yo artist Richard Davis with perennial tech house champs Swayzak. Their resulting "Shut Me Down" is a distinctive beast laden with pained strings and sultry trumpet lines of a driving rhythmic undercarriage. The Mole and Hreno team up to deliver two remixes of the original that delve into separate characteristics of the music. The "Wet Hog Mix" creates an immersive bath of low-end melody and reverb washes with just enough of that bittersweet content from the original to see the link, while the "Dry Hog Mix" goes all out on the drums for a heads-down tool of a rigid nature.
Thank You/Dream State Of A Bellmaker/Big Sur (14:00)
Review: A mere four years after making his 12" debut on Fathers & Sons Productions, Samuel Andre Madsen delivers his debut album on Delaphine, the label he set up to release his music back in 2013. There's much to admire about Dream State of A Bellmaker, which attractively drifts between undulating ambient bliss, deep and melodious techno shufflers, evocative electronica, becalmed drone explorations, and atmospheric compositions that define easy categorization (see the electronic jazz/ambient/dream house fusion of "Better To Have Loved"). It's a hugely enjoyable and entertaining set, full of intricately programmed and life-affirming music.
Review: Given his prolific nature, it's perhaps surprising to find that 5 is actually Medhi Djebali's debut album. The title was apparently chosen as both a nod to the fifth anniversary of his self-titled label, and as a reflection of the number of months it took the Parisian to record it. As you might expect, it's an enjoyable collection of largely club-friendly cuts, with Djebali offering nods towards Robsoul style tech-house ("Nineties Playground", "Mister Bastard"), spacey ambience ("Heartgroover", "The Other Night"), acid (the funk-fuelled "D.B Cooper", "God's Dreams"), and warm, early morning deep house ("Seven Blessings", "Ideal Dawn"). To round things off, he also includes a head-nodding chunk of dreamy instrumental hip-hop (John Dimas collaboration "Suzaku").
Review: We never quite know what to expect from leftfield explorer Jon Hopkins, but we know it will be worth a listen. Immunity, his fourth solo album (he's recorded two others, one with Brian Eno and another with King Creosote), doesn't disappoint. Rooted in shuffling, forthright and occasionally off-kilter rhythms, it melds hazy, late night atmospherics and subtle melodies with intense, droning chords, woozy electronics and all manner of inventive noises. It's a blend that repeatedly pays dividends, from the mournful pianos and jumpy rhythms of "Breathe This Air', to the crystalline, soundscape ambience of "Abandon Window", and glitchy wonkiness of "Form By Firelight".
Review: The last few years have seen Nathan Melja really hit his stride, landing on such esteemed labels as Mister Saturday Night, Black Opal and Technicolour with an addictively weird update of the classic boxjam format. Now he steps up to inaugurate Dream Real with three slices of upfront deviant business for all the sleazy dancers out there. There's no arguing with the rubbery bass tones and perfectly processed vocals on the original mix of "Jerky Teardrop", but there's also the more wave-minded delights of the "Blue Mix" version of the track to suit more reflective situations. By way of contrast, "Places We Belong To" smooths out the mood on the B-side with a low riding slice of boogie that sports just a whiff of indie thrown in for good measure.
Ways Of The Sun (Peter Kruder Into The Black Hole remix) (7:22)
Ways Of The Sun (Manuel Fischer remix) (8:38)
Ways Of The Sun (Armitage remix) (6:43)
Review: Second time round for the much-loved "Ways Of The Sun", Frankey and Sandrino's 2015 collaboration with vocalist La Oberg. This time, there's no original mix to admire, but rather a quartet of fresh remixes. Jimi Jules steps up first, wrapping dubbed-out synth splashes and La Oberg's evocative vocal around a loose and languid dub disco-meets-deep house groove, before Peter Kruder re-imagines the track as an acid bass-propelled chunk of analogue deep house goodness. Over on side B, Manuel Fischer dishes up a sunrise-ready organic tech-house take while Armitage slams down a loopy and hypnotic peak-time revision that subtly builds throughout.
Review: East End Dubz offshoot Eastenderz continues to go from strength to strength after killer releases from Romanians Lizz and Nami. Keeping on with their focus on the finest of emerging talent, they now tap Japanese artist in London Ittetsu for their tenth edition. Starting out on the first side in great fashion is "Lax", a raw and shuffling groove with the right amount of dust and bumpiness in its functionality. Next up the fittingly titled "Dub III" was probably our favourite, this rolling and emotive journey through deepness is reminiscent of Ion Ludwig. Finally on the flip is "11th", a reduced minimal funk jam with some wacky sound FX accompanied by a low slung groove that's perfect for the after-hours.
Review: OK EG appears from out of nowhere in a haze of the mellowest ambient techno and downtempo delights for your mind to melt into. "Creek" is a smooth but strident route in, the tidal lilt of the pads dissected by a finely paced beat loop that should find a comfortable home amongst deepest house heads. "Colours" does away with the drums and uses a plaintive sprinkling of keys and delays to create an evocative backdrop for fragile females vocals. "Reef I & II" is the clubbier cut, rolling out over the B side with a looming monosynth bassline and some dub techno inflections making it a smart choice for warm up scenarios especially.
Review: More from single-sided specialists EEE, a shadowy crew that specializes in sneaky contemporary club reworks of well-known tracks (many of which are, in their original form, about as dancefloor focused as your average miserable indie band or veteran cabaret crooner). What's on offer this time round is a heavily electronic tech-house groove - all Romanian style beats and bubbling, mind-altering synth notes - onto which is laid cut-up snippets from a famous old blues cut that's previously been sampled on a club cut to great effect. While the vocal does sit slightly awkwardly at times, there's no denying the heaviness or effectiveness of EEE's track. In other words, it's another winner from tech-house's most shadowy crew.
Review: On his latest long player - his first for three years, fact fans - Berlin-based tech-house producer Samuel Kindermann has attempted to fuse electronic music with the sweeping strings and considered compositions of classical music. To this end, he's spit the resulting tracks into two classical-style "movements". Disc one contains the club-focused material ("Movement 1"), a melodious an attractive selection of positive dancefloor tracks rich in joyously tuneful motifs, glistening electronics and soaring orchestration. He flips the script on disc two, showcasing the dowtempo side of his personality for the first time. Here, you'll hear deep space ambient, warm and woozy IDM and a clutch of inspired, neo-classical inspired soundscapes.
Review: Artyom Ziobin's distinctive style of minimal house stands apart from the usual thoroughfare of moody, dubby shufflers. Instead the Russian producer reaches for a warm, disco-influenced sound palette which he then slices and dices into sleek, crafty party workouts with lashings of panache as well as studio ingenuity. Following appearances on Bump Foot and Grow Vinyl, the latest outing for Plantae comes via Elephant Moon, with lead track "Amber Light Of Ethereal Shadow" cutting a dashing figure across the soundscape with its busy but nimble mixture of synth splashes and stuttering drums.
Review: Kreon & Lemos continue their exploration of dubby motifs and crafty beat programming on this latest missive for Equivalence, and at this point it's safe to say anything could be possible from the adventurous Greek duo. Each of the artists has a side across which to express their own vision of "Avatone", starting off with Kreon. The urgency of the funky breakbeat rhythms powering both versions is hard to resist, with Kreon's version ramping up the nagging synth lines in between the drums while Lemos opts for a more meditative refrain around the intricate percussion.
Review: Nestled comfortably on his constant home of Erased Tapes, Rival Consoles imparts another collection of plush forays into warm, melodic synthesis for those who like their instrumental electronic music scuffed with a little earthly charm. With the same starry-eyed innocence that bursts out of Nathan Fake's music, tracks like "Helios" leap with great strokes of synth and upsurging drums, carefully running threads of live instrumentation into the fold through some canny processing. The progression of each track is a beautifully crafted story with pleasant surprises aplenty but always reaching a logical resolution, making for a thoroughly rounded and satisfying listening experience without losing that all important bite of intrigue.
Review: Having kicked off his Etheric label with the Origins EP earlier this year, Leonardo is back with more adventurous machine music for the spiritually inclined dancefloor. "The Offering" has a dark and moody tone thanks to the snaking synth line wriggling its way through the track, perfect for eyes-down submission as the strobe blinks slowly. "Symmetry" is a more open affair, all soft top chimes and vapour blasts pinging around an easy electro beat, while "The Afterlife" strikes somewhere in the middle with a tougher, club-minded sound that still favours a sunnier sound palette. "Droplets" is the consummate B2, shrugging off the dancefloor rules of the previous tracks to trip out in a dubwise atmosphere that further strengthens the quality of what Leonardo is up to.