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: Mark Ambrose brings his years of expertise in the deeper end of the techno spectrum to bear on this latest joint for Crayon, the label he founded way back in the mid 90s. "Destiny Angel" is a stomping, expansive cut with a cinematic lilt to its sound design and melodic progression - one for people to truly travel on. "Bleeps & Bits" is a more rugged workout that digs deep into intricate rhythm programming and FX processing to create a unique future-tribal flavour. "Just Tonight" keeps the beats dynamic and broken, but with a much hookier punch and some choice vocal snippets that should find favour with all kinds of DJs.
Eternal Blue (Wata Igarashi Crossing remix) (7:36)
Review: In an age of over-information, it's refreshing to see Aurora Halal take her time with the Mutual Dreaming label, which notches up just its third release since launching in 2014. It's also the New York scene leader's first record in three years, and it's worth the wait. Some elements are familiar - Halal still has a keen instinct for heavy-hearted synth lines shaped out in bold curves, but the level of expression going into these tracks makes each one stand out like a striking painting. From the eerie mood of "Fattal 22" to the crunchy bleep workout "Nasty II", the character just oozes out of Halal's productions. With a remix from Wata Igarashi thrown into the mix as well, this is a record loaded with fresh and powerful takes on techno.
Review: Distant Worlds is a label going from strength to strength as it carries the work of underground deep techno producers celebrating that hopelessly romantic strain of UK machine music that emanated out of labels like B12 and Pure Plastic. Mihail P makes a return to the label after last year's "Multiverse EP", channeling all the right moves for a blissful trip into imagined sci-fi vistas fuelled by the box jam funk of electro and the synapse-tickling soundscapes of Tangerine Dream et al. From the dreamy delights of "Kessel Run" to the downtempo groove of "Sons Of October", this is beautifully executed music that champions electronic music with real heart and soul.
Review: Cartulis bounce from the essential release from Eliaz to this intriguing slab by Reade Truth, a New York techno original who was last spotted on Warm Fiction, Blkmarket Music and Path Records. His "Wires, Everywhere" album was a big release for Cartulis last year, and now he's back with further ruff n' tuff cuts that drip with Big Apple attitude. From the deep diving "Starflight" to the epic, ranging "Space Out (Expression)", you can sense Truth's hard earned swagger but it's also balanced out by subtlety, a sense of space and groove that makes each track a pleasure to sink into.
Review: Following outings on Echovolt, Further Electronix, Nerang, X-Kalay and Of Paradise, Gennadiy Manzhos brings his Low Tape project to Private Persons for the very first time. "The Next Summer of Love EP" is an expansive and universally impressive affair, with the Russian producer brilliantly charging between sun-kissed deep electro (melodious opener "Euphoria" and the similarly summery "No Acid For You"), raw and heavy jack-tracks ("Chicago Blues"), skittish but spacey electrofunk (the high tempo thrills of "Detroit Love"), bittersweet brilliance (the melancholic chords, non-stop machine beats and acid-style electronics of "Never Not Known You") and bass-heavy ghetto-house/ambient techno fusion ("Winter Acid Waltz").
Review: Militant Detroit techno crew Scan 7 have learned much from their association with Underground Resistance, not least the benefits of myth-making and mystery. This is one of the reasons that "Between Worlds" is fast becoming one of techno's most talked about releases of 2019. Of course, the fact that it's also the seven-piece crew's first album since 2002 has added to the hype, too. So is it any good? Oh yes. Variously deep, spacey, futuristic and foreboding, the album's 13 cuts range from pitch-black acid-fired techno ("I'm Covered") and fizzing techno-funk ("Trackmasta Hoop"), to percussion-laden deep house melancholia ("Deep Roots") and punchy club electro ("It's Time"). For the most part, though, what you get is uplifting, emotion rich techno in the style of their fellow Detroit greats.
Review: Over the course of his short career to date, Forest Drive West producer Joe Baker has developed a trademark sound that gleefully mixes and mangles elements of techno, post-dubstep bass music and vintage jungle. That trademark sound is naturally at the heart of the producer's first outing on Neighbourhood, from the smooth, spacey and slightly creepy hypnotism of opener "Un", to the deep space electronics and jazzy, off-kilter rhythms of EP highlight "Reshape". It can be heard, too, on the locked-in peak-time techno of 12" closer "Functional" and within the delay-laden blacksmith's percussion hits, moody bass and body-jacking kick-drum beat of the mind-altering "Wait". Supported by Etapp Kyle, Sigha, Ben Sims, JP Enfant - this will go fast, don't wait!
Review: Berlin-based techno imprint Repitch returns with more austere and pitch-black techno, courtesy of Polish producer Martyna Maja aka VTSS. A proud alumni of Warsaw's Brutaz club night and Jasna 1 club, in addition to being one of Discwoman's most recent additions, she's in fine form on "Identity Process", following up some great releases on Intrepid Skin and Haven recently. From the brooding rave energy of "Bring The Noize", the barrelling peak time intensity of "Code Red" to the powerful adrenalin of "Devil May Care" which is perfect for those "heads down" moments under the strobe light - Maja lunges straight for the jugular from the get-go on this truly ferocious outing.
Review: Silas & Snare continue the heat on Madam X's Kaizen with their second single on the label this year. As always there's no letting up in terms of aesthetic, melting pot and energy. All sitting somewhere in the techno/hardcore/dub axis, "Pressure" lives up to its name with a rolling break, and warped grime basses, "Dreamscape" creates intensity with a loopy vocal hook and densely coded sense of tension while "Whistle Blower" brings us home on a deeper, more broken tip where noises aren't all what they seem. Feeling the pressure yet?
Review: For the sixth missive on his admirable Touch From A Distance label, Panorama Bar/Berghain resident Nick Hoppner has turned to debutant Cameo Blush. The little-known artist hits the ground running with title track "Murky Waters", a superb fusion of two-step influenced electro drums, bleeping electronic melodies and drowsy female vocal snippets. "Hypervisibility" is a deep but weighty chunk of melodic electro bliss, while "Prophet Paradise" is dreamy, languid and sun-kissed, with bright and breezy lead lines and warming chords. Equally as impressive is killer closing cut "Year 2000 Problem", a rumbling breakbeat workout smothered in the kind of blissful electronic flourishes that were such a feature of Isolee classic "Beau Mot Plage".
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: Sad City's debut album was an absolute delight to behold when it landed late last year, and this remix package on Emotional Response does a great service to the quality of the original by offering up some truly outstanding new versions from impeccable talent. DJ Nature is one of the greats of heads down, dusty house, and his smoky handling of "Steady Jam" draws you in across two blissful versions that adorn the A side. On the flip, "Pace, Movements I-IV" gets a beautifully bubbly acid treatment from HOLOVR, and Herron plunges "Rain" into a murky bath of leftfield techno.
Review: It's now been two decades since Gallic producer Joan-Mael Peneau first donned the Maelstrom alias for the very first time. He's been in particularly fine form of late, offering up essential EPs on Cultivated Electronics, Central Processing Unit and Private Persons. Here he makes his debut on Craigie Knowes' hard-wired techno and electro offshoot C-Know-Evil with a formidably tough two-track offering. A-side "Spasm" is a riotous fusion of metallic percussion hits, high-octane electro drums, doom-laden acid lines and bass so raw and intense it was probably made in Scotland from girders. He opts for an even more doom-laden techno sound on fizzing flipside "Turbulence", wrapping increasingly intense electronic motifs around a surging rhythm track.