Review: Amato brings the kind of nasty electro business that fits right in on Helena Hauff's mighty Return To Disorder stable, and you know it's serious from the opening strains of the VHS noir monster "Escape From Grenoble 2018". "Hydraulic Funk" takes things slower, coming on like a freaky Frak flipside and sounding excellent for it. "Machine Outil" takes things in a more muscular direction that sounds built for bench presses and body jerks - the consummate peak time sledgehammer. Umwelt takes this sturdy starting point and demolishes it into a hailstorm of acid malevolence that'll melt your face clean off.
Review: This is proving to be a big breakthrough year for Kosh, a producer hailing from Casablanca in Morocco. After making a first appearance last year on Casa Voyager, he's returned to that label a second time before dropping the "Endless Quest" 12" on eudemonia. But now he's made a marked leap forward with this transmission on 20:20 Vision, where his incredibly well-read take on vintage electro sounds right at home. There is quality pouring from every corner of this record, but we recommend you make a beeline for the sumptuous "Vicious Love," an acid-laced burner with soul to match its snarl.
Review: Unstoppable electro machine Carl Finlow (aka Silicon Scally) lands on Orson with more of that impeccable robo-funk he's so revered for. "Elastic Collisions" leads the charge with a tough and teasing workout that works around a heavy low end and plenty of sparkling sound design up top. "Octodecillion" keeps things on a dystopian tip, where a bleak future sounds as funky as it does ominous. "Probabilities" heads into a less floor-focused space where thick layers of buffed and polished synth wriggles collide in high-definition. "Mechanomics" completes the set with another taut belter geared towards the heads down section of the party.
Review: Sushitech's sub label Pariter has already released timeless records from the likes of Delano Smith, Steve O'Sullivan, Baby Ford and Norm Talley to name a few and this new release of the Romanian group Lisiere Collectif is no exception!
Unknown Credentials is a project of 5 tracks released on 2 single records. A sides on both parts are absolutely massive, acid lines and hypnotic chords peak time tracks that will shake any proper sound system with some serious bass extension! B sides are deeper and have more modern, fresh electroish vibe that we love!
Fans of Ricardo Villalobos & Craig Richards b2b sets are going to find it gold! Don't sleep!!
Review: Helena Hauff returns to her own Return To Disorder label after last year's joyously received "Qualm" album on Ninja Tune. It's the first fully solo record Hauff has released herself, and it more than lives up to expectation. "Catso" is a wonderfully expressive slice of noirish electro draped in vintage synth arps and twinkling leads as enchanting as they are spooky. "Why Look At Animals" has a more low down funk, but once again sports the richly harmonic synth hooks to make this appeal right across the board. "The Brush" ups the tempo, but keeps things sparse and moody, while "Slim Filter" gets a touch more nasty and sounds utterly fantastic with it. Compared to her rabid DJ sets, these productions represent the more measured side of Hauff, but they're no less deadly.
Review: Assembler Code & Jensen Interceptor are one of electro's most devastating duos right now. Mechatronica welcome them for four more hard hitting jams after their "Vapour Waves" EP on this label got plenty of people talking. These are tunes with an old school feel that will blow up your bass bins and tear apart your tweeters with their mix of low end heaviness and bright melodic patterns. Superbly urgent drum programming sweeps you off your feet and races you through astral skies on "Noise Theory", "Otherwise" has a raggedy-ass broken beat and "Day 1" has a blistering bassline of the highest order.
Review: Not An Animal regulars Ess O Ess are back with an effervescent 12" that spans starry-eyed electro and pastoral electronica. "Voice Inside" comes in French and English versions, depending on what flavour you want from the sultry spoken word turn on the top of the plush harmonics of the production. As well as the killer original track, there's choice remixes on offer too from The Backwoods and Craig Richards. The former takes a cosmic, trippy approach to the track, but keeps the focus sharp thanks to a snapping 4/4 beat. Craig Richards meanwhile takes things far away from the original with a brilliant slice of discordant electro weirdness for the after hours crowd.
Review: The Advent made for a perfect addition to the formidable Thema catalogue, and now he's back with the second volume of his "Dorian Blue" series. There are plentiful loops to get creative with, but the fully-formed tracks have their own cyclical qualities to inspire technically-minded DJs. "Structures" is an urgent, tightly wound piledriver, while "Interactive Loop" and "Digitize" cuts both take a sprightly, Motor City-styled approach to electro. With loops derived from these classy tracks and more besides, there's a lot to get the creative juices flowing as well as bodies popping.
Review: Unlike some in the growing electro scene, Datassette has been serving up far-sighted electronic music - both club electro and what some call "IDM" - since the dawn of the century. This, though, marks his first appearance on C.P. Smith's incomparable Central Processing Unit label. It's a pleasingly varied affair, with the British producer storming between club electro/early Autechre fusion ("Kestrel Manoeuvres In The Dark"), acid-tinged, beat-free electronic symphonies ("To The Scullery!"), hard-edged and suitably intergalactic Drexciya style workouts ("Stoatle Excelsior") and sparse, glitchy electro minimalism (wonky EP highlight "Polyhedron Navigator"). Even by CPU's infamously high standards, this is a particularly fine EP.
Review: New label Nuances de Nuit kick off in fine style with a various artists 12" that draws on some emergent names to lay out a vision of cross-style dance music that favours the deeper end of the pool. Things get going with an organ-rich house bumper from DJ Steaw that pumps in all the right places, before Armless Kid switches things up with an untitled slice of dynamic, richly layered electro. T. Jacques thumps out a crafty, swinging cut with techy inclinations and oodles of groove, and E. Wan takes things in a more linear, deep techno direction laden with gorgeous synth work and plenty of artful effects processing.
Review: After launching the Gudu label with a superb EP of her own productions, Peggy Gou has recruited Ed Upton AKA DMX Krew - one of the most reliable producers in the house and techno scene - to handle release number two. Upton is in fine form from the off, sprinting his way through the atmospheric late night chords, garage style organ motifs, bustling acid lines and jacking drums of opener "CJ Vibe". He moves further towards vintage Motor City techno territory on the lusciously melodious but percussively punchy peak-time skip of "DXIOO", before reaching for the boogie synths and proto-house drums on futurist electrofunk number "Don't You Wanna Play?". To round things off, Upton brilliantly dips the tempo and layers up spacey melodies over classic analogue bass on "110 Series".
Manuk & Oli Silva - "Nevermind The Crispies" (5:55)
Eliaz - "Verdico" (7:06)
Meta 4 - "Urnammu" (7:45)
Jorge Gamarra - "Dypac" (5:42)
Review: There's a certain air of buy-on-sight mystique around EYA Records, somewhere between the low-key presentation of the music and the cult artists they're calling on to realise their particular vision of deviant dancefloor business. This is unabashed freaky party tackle, from Manuk & Oli Silva's delirious B-movie jack track "Nevermind The Crispies" to the uneasy electro snarl of "Verdico". Meta 4 has equally nightmarish moods to share on the graveyard acid of "Urnammu" and Jorge Gamarra seals the deal with the schlocky braindance horror of "Dypac". It's the kind of record that you'll be reaching for come Halloween, trust.
Review: More majestic electro workouts from Chris "214" Roman, a producer who has been serving up slabs of tightly wound machine funk since the dawn of the decade. He opens his first Frustrated Funk outing for three years with the bittersweet deep electro shuffle of "Growing Old Together" before breaking up the beats, ratcheting up the bleeps and cranking out the crackles on alien funk throb-job "Last Dance". Over on the flip, "Dislocated" is a high-tempo slab of end of days electro full of growling noises and creepy chords, while "Voice Check" is picturesque, dreamy and life affirming: a triumphantly positive and melodious conclusion to another stunning collection of cuts.
Review: REPRESS ALERT: Exzakt continues to forge one of the purest totems of classic electro with his Monotone label, and indeed his own output. The latest release is a various artists EP which perfectly sums up everything Monotone is about. The Advent leads the way with the dark, melodic "Eye's Of Envy," produced alongside Zein, before Exzakt himself drops a taut and wiry dancefloor bomb in the shape of "Kreep." 214 fires up the B side with the edgy, minimalist thrust of "Crouch & Turn," before EggFooYoung makes a surprise return to the fray with the more Miami-flavoured stylings of "Bass2Large," a slower, dirtier jam with low end frequencies to get the whole club freaking.
Review: EYA Records branch out with this crafty, wriggling slab of freaky techno diversions on new imprint Lonewolf. Meta4 twists all kinds of gnarly subversion out of "Four Body Centers," where the funk of foundational Detroit techno collides with the rampant machine messing of UK acid for stunning results. There's an eerie ghost train vibe hovering over Jorge Gamarra's "Pact", while "Langan" by Twophaseu drops a fresh UK twist on electro. Meta4 returns to bookend this ear-snagging EP with the equally catchy oddball trysts of "666blank", another devilishly deviant slice of underground party music for the ghoulish crew.
Review: Electronic Leatherette continue their trips into the ethereal and seductive world of minimal wave with this new single from label founders Dmitry Distant and Arnaud Lazlaud. "De Ton Absence" is an artfully sculpted synth ballad bathed in reverb and Lazlaud's dreamy vocals - the end result is something both yearning and sinister, like the best minimal wave should be. On the flip, the balladry gets a shot of pure adrenaline as Timothy J Fairplay creates a taut, feisty electro belter out of the raw ingredients for a remix that should find favour with more uptempo dancefloors.
Review: Although Clone's series of remastered Drexciya retrospectives are excellent, it's nice that Tresor have decided to reissue the majority of material the Detroit pair released through the Berlin label in its original format. This way you get the music in the manner Donald and Stinson originally intended. The four tracks on Digital Tsunami were drawn from the same recording sessions that resulted in the sublime Drexciyan document Harnessing The Storm and thankfully got pressed on an addendum 12" after not making the cut for the double LP. With Tresor having just reissued Harnessing The Storm it seems only fair Digital Tsunami should be granted the same treatment. Some 13 years after it's original release and all the music here still sounds like it was drawn from the future, with Donald and Stinson excelling at rapid fire bursts of abstract subaquatic electro, such as towering highlight "The Plankton Organisation".
Review: We're always keen to hear from Berlin label Vortex Traks. This 11th offering sees them eschew their recent run of Various Artists EPs to instead focus on five cuts from Datawave. The Belgian artist's sound operates in some distant galaxy, watched over by his forebearers such as Dopplereffekt and Drexciya. Crashing hits open "Implant" before a serrated lead signals ready for takeoff. The intensity only ramps up through the warp speed synths of "Immune Compound" and corrugated bass rumbles of "Hybrid Structure". "Proceed" is the most alien of the lot, and "Thin Line" closes out on a mysterious vibe that will keep you coming back for more.
Review: Biochip are a new duo making the right start on the mighty CPU. Julian Kochanowski and Melissa Speirs have no previous to speak of, but their deft take on electro speaks to years of research and immersion in the language of sequencers and synthesisers. There's an emotional weight to the music they've charged this debut EP with, where billowing pads and soaring Detroit leads meet with some crafty sound design and canny programming. At times things get intense, as on the rowdy "Acid Billy", not to mention seriously funky on "Tone Forest", but there's always an otherworldly shroud hovering over the music that makes it Biochip's own.
Review: On the A1 Chekov follows up their moves on Peach Discs and Timedance with a proper peak timer, they've been described by Ben UFO as 'king of the build up' and that's evident on this one. At the A2 London's Doppelate makes their Cong Burn debut with an elegant tech-house roller. Fresh from Russia's underground is Camin, on this, his debut 12" release he drops a useful tool which squeezes between electro and techno. Cong Burn founder Howes closes the B side with some warm hypnosis that could have landed in the golden era of Workshop.
Review: Distorted Sensory Perception is a new label emerging out of the Bristol underground to represent the deeper end of the techno and electro scene. The first release is a various artists affair that kicks off with the bold and expressive sound of rising talent Gilbert, last spotted on two excellent Innate releases. Mindless Evolving Objects takes a similar approach laden with harmonious pads and twinkling arps, while Datawave takes things in a darker direction without losing that melodic nous. Label founder Zobol has an emotive bent in his track "Scatterbrain," and Nikolay Sunak completes the set with the illustrious "Dance & Cry Baby."
Review: Rather unhelpfully, there's little info about the Superlux label available, other than the fact that it's run by the shadowy artists of the same name. They handle side A of this split EP, with Mike Gill's "Noisey Rework" of "White Noise" - a pulsating, otherworldly chunk of electro rich in trippy noises and elastic synth-bass - followed by the raw, foreboding, mid-tempo electro throb of "Chupa Track". Sometime Pleasure Club man Nick Glynn takes over on side two, first delivering the deep space club electro of EP standout "Take One", before inviting Dawl to re-invent it as a mind-mangling slab of electro/Yorkshire bleep fusion (minus the colossal sub-bass associated with that particular vintage style).
Review: Ted Krisko and Eric Rickers hail from Detroit, and their distinctive brand of snappy, playful electro and techno has already landed them releases on KMS, Visionquest and others. Now they land on 20/20 Vision with the devilishly fun "One LFO," an unremitting acid jam shot through with crafty drum programming and enough robotic lubricant to get the rustiest joints greased up and moving. Fellow Detroit champs Luke Hess and Delano Smith shore up on the flip with classy remixes, Hess waving his dubby strains over the original in inimitable form and Smith taking things deep, smooth and just a little spooky.
Review: Chris Romans has been rolling out crucial electro jams for a number of highly regarded labels since the early 00s. Amongst them are Touchin' Bass, Shipwrec, Frustrated Funk and Central Processing Unit, so that tells you everything you need to know about the level he's operating at as 214. Now he comes to 20/20 Vision with some body-poppin' jams of the highest order, broadening the tech house label's remit to embrace the thriving electro scene with one of its most vital practitioners. "Potential Events" is a brooding, atmospheric affair while "Windeye" draws on a more playful, Detroit indebted palette of sounds. Radioactive Man remixes "Windeye" with a steady, finely detailed approach, and then "Back To Sine" finishes the record off with another snappy salvo of funky drums and bubbling synths.
Review: Electro is very much back in vogue, but for Steffi's vital Klakson label it's a sound that never went away. This EP is a particularly special one that welcomes Fastgraph, aka Dutchman Frank de Groodt, back into the fold more than a decade since his last official release (which also came on this label). These tracks are fast, funky machine music with crispy, crashing metal hits and warped synths that are made to devastate the dance floor. The frazzled bass of "Number 8" sure is pleasing, but to really make a mark, drop the manic lines and overdriven drums of "Interface" and see people really lose their minds.
Review: Analogue hardware enthusiasts London Modular Alliance return to Kirk Degiorgio's storied Applied Rhythmic Technology label following a string of fine outings on Private Persons and Dimensions Recordings. Interesting, LMA believe that the EP boasts their strongest collection of cuts to date and we tend to agree. Opener "Peach Heat" sets the tone via rubbery but rock solid electro beats, wild electronics and echoing deep space sounds, before they pitch down the tempo on the sparse, spaced-out heaviness of "Harnessed Black Holes". Further body-rocking dancefloor explorations are provided on the flip, first by the Dexter style heavy electro throb of "Lavendah" and then via the booming bass, foreboding tribal drums and razor-sharp TB-303 pulses of "Precious Materials".
Review: To date the Electronic Leatherette releases have featured a whole spread of noirish synth brandishing producers on two split 12"s, including Heinrich Dressel and Plant43. This third trip out into the grubby climes of the wave-inspired scene comes courtesy of Exhausted Modern and CCO, both of whom know a thing or two about channeling sinister monosynths and brittle drum machine rhythms that bridge the gap between the DIY 80s and these hardware abundant times. Exhausted Modern's "Loss Of Self-Identity" is especially strong, while CCO's "Serendipity " struts with a satisfyingly deep and nagging acid twist.
Review: Finnish producer Mesak steps up on Orson following the previous killer entry from Carl Finlow, and he's got just as much electro firepower to dish out as the celebrated Silicon Scally. "Sata EP" kicks off with the dystopian ripples of "Ayran Meydan," which zips through nervy, strafing synths and nimble acid licks. "Dim Sun" brings a funkier style to the table, while "Kruisata" plunges into the aqueous depths of Detroit flavoured electro. Extended jam "Iskut" stretches out for eight body popping minutes of stern-faced robo funk to fully cut loose to - it's the perfect finishing move on an EP packed full of advanced electro excellence.
Review: Point B has a mighty fine discography behind him, although he's been a little quiet on the release front in the past five years. Rumour has it he's been busy with other projects, but his return to the club 12" format finds him in searing form. "Jack Knife" kicks proceedings off on a twitchy, electro-indebted tip, with deft splashes of IDM synths to match the beats. "Out Of Flavour" has a more manic feel, with some seriously warped lead tones to twist minds left right and centre. "Video Vault" drops the tempo a touch, but the feisty sound design and brooding atmospheres remain at the heart of the track. "Smash Hits" finishes the record off with a playful electro funk cut that wouldn't sound out of place alongside classic DMX Krew.
Review: The resurgent Transparent Sound outfit (made up of UK electro veterans Orson Bramley and Martin Brown) have been riding high since their classic "Punk Motherfucker" got picked up for a reissue from Pressure Traxx, finding favour with the Club der Visionaere set. They're back on their own label with a rich and plentiful EP loaded with robotic box jams, leading in with the dark and seductive body popping beatdown "What Is Your Name?". The vocal mix is killer, but there's also the added bonus of an instrumental take for those who prefer a pure machine sound. Acidulant also steps up with a blinding remix that does a great service to the original, threading some seriously nasty synth wriggles and wobbles into the mix.
Review: ** REPRESS ** Following the series of Drexciya retrospectives on Clone, Tresor has dug their own sizable archives to revisit some of the work James Stinson and Gerald Donald committed to the Berlin institution in their time working together. Having already reissued the Drexciya LP Return To Neptunes Lair, Tresor now present a reissue of The Opening Of The Cerebral Gate, the 2001 LP from the late James Stinson's Transllusion project. Initially released on Tresor offshoot Supremat, this new triple LP edition from the label includes three cuts that were not present on the original vinyl version. Given how much og copies command on the second hand market, Drexciya fans without a copy should consider this an essential purchase!
Review: Phil Gerus is a rising talent that fits right into the (Emotional) Especial mould with his sharply realised 80s bombast and dynamic electro funk production style. Treating body-popping club tracks as a vessel for heartfelt expression, these tracks have it all from Linn Drum boogie to fully capable instrumental chops, all shot through with Gerus' choice new wave vocals. Lauer hops on board for a seductive remix of "Still Blind" that ups the sensual intensity of the track while keeping the club foremost in his mind, before Jamie Paton steps up on the flip with a couple of freakier turns that dub the original out into deadly, spooky jams for more adventurous party people to get loose to.
Review: Emergent duo Broken Arrows were previously spotted lurking around Giallo Disco back in 2015, so you should have some idea of the kind of lurid late night machine sleaze they like to get their hands dirty with. They've now slid over to the sympathetic but marginally more techno-minded Vivod imprint with a new clutch of deviant heaters for those adventurous dancefloor spaces where B-movie sounds reign supreme. "Female Predator" is a tough EBM-tinted workout with plenty of jack in its stack, while "Fear Eats The Soul" takes a more synth-wave approach with some speech samples thrown in for good measure. "Edge Of Darkness" is a more tense affair that pings arpeggios around a minor key refrain, and then "Basic Structure" whips out the hardest track on the record, a lithe industrial stomper laden with rhythmic noise and a mean synth bassline that will hit your solar plexus like a battering ram.
Sync 24 & Luke Eargoggle - "Broken Electronix" (5:47)
UHU - "Never See" (4:00)
Privacy - "Miss You" (5:47)
Etcher - "Super-Translations" (5:53)
Review: Drawn together by a common "passion for the connection between man, mechanics and electronics", the artists on Mechatronica label all well-versed in the art of electro. Veterans Sync24 and Luke Eargoggle team up for the master-blaster that is "Broken Electronix", a menacing stab of a groove that dissolves into the more granular computer-world of "Never See" by UHU. On the flip, "Miss You" by Privacy is dark, spectral and hollow, while "Super-Translations" by Etcher feels like a ride on the same aquatic waves of electro giants like Drexciya. Excellent stuff.
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: After years spent supporting the underground IDM scene digitally, Glasgow label Ambidextrous makes the leap to vinyl with this killer compilation of ear-catching deep techno and electronica. Christ brings a bubbling range of synth tones to "Rom" before Norken and Nyquist drop some brooding electro tones over rolling beats on"Od Detot". Solipsism has a more sassy house sound to impart, while Nyquist goes into full electro mode on his own. On the flip, Analogue Audio Association have some edgy acid to throw down, Cyan341 brings a touch of boogie flex to the record and Mich Chillage rounds the record off with emotive outboard electronics of a reflective nature.