Review: It's been a great year for Belgian basssmith Zygos. Having kicked off the year on Chad Dubz Foundation with the "Future" EP and appearing on Encrypted, Rarefied and Subaltern throughout the year, he now ends 2017 with another precision sub-low serenade. "Erf" is the creeper of the set, all foggy and graveyard stomping, "Nostromo" is the emotional moment with a swooning slo-mo Q&A that's pregnant in hope while "Agite" plays the consummate cosmic piece with sci-fi flurries zipping back and forth over a loosely-hemmed drum arrangement. Finally "Dwaas" ends on a motely note as Zygos teams up with Tosti for a sense-rattling finale where the percussion is scattered over the bass in a funky cascading way. Time to fly.
Review: Brawther's Negentropy label has already carried gold star material from Ron Obvious and the man himself, and now it's the turn of debutant producer Zweizig to show off his wares. This assured 12" leads in with the ambient intro "Gewissen" before the crisp minimal funk of "Rhythm Tension" kicks in with its shimmering and shuddering sound design pinging around the dexterous beat. "Zephyr" is a smoky affair with a snappy broken beat and lots of subtle organic matter writhing in the middle distance. "Rehash Repeat" takes things deep and dubby to complete the set, all mellow hiccupping rhythm accents and hazy melodic phrases.
Review: Hot on the heels of Phil:osophy's latest treasure trove comes another bounty of bliss from Artificial Intelligence's Integral. This time with old friends Zero T and longstanding vocalist Steo. "Can't Hide" is pure soul heaven; delicate layers of Steo's harmonies arranged softly over a spacious beat and lilting pianos, it's T and Steo at their most evocative and feel-heavy. "Make Time" kicks with more urgency as techno-like synths stab hypnotically, balanced by Steo's falsettos and gently rising instrumentation. Elsewhere the unstoppable Monty gives their evergreen 2016 soul-out "Too Close To See" a bittersweet twist. There's no hiding from this one.
Review: The Zenker Brothers and their Ilian Tape venture get stronger by the minute, and here Marco flies solo with this latest EP, sounding in utterly rude health with it. "Geezin" is a distinctive opener, ditching standard 4/4 propulsion in favour of an airy drum machine arrangement infected with the slightest flurries of hardcore breaks and offset by wistful synth patterns. It's a curious combination that works magnificently, but for those wanting something a little more direct "Splifer" is on hand to deliver a more classically Zenker techno mantra. "Darai" brings the swing back in fine style, throwing down a chunky stomp to match the sizzling hats, and then "Lubiana" wrecks the surroundings with its magnificent pummel of low end percussion and gritty production values.
Review: Sex Tags Mania chief Sotofett has had an ongoing friendship with Sydneysider Carlos Zarate, since appearing on the latter's Thug imprint with their collaborative Planetary Involvement EP back in 2016. Much like their previous outing, Arjun is another brazen tribute to the classic sounds of Detroit techno. From the classic hi-tech soul aesthetic of the title track with its celestial pads backed by bombastic electro-bass beats, plus sleazy G-funk leads. Speaking of which, the intergalactic funk of "Afroz" likewise gets its bass-heavy boom on, with melancholic strings and a wonky synth bass that's reminiscent of the Motor City's first wave - in particular Derrick May's Rhythim Is Rhythim releases.
Review: Argentina's Andres Zacco has form with Ilian Tape, debuting on the Zenker Brothers-helmed label back in 2011. Zacco is back in the IT fold, but this time it's through the label's X Series, a chapter reserved to more spontaneous white label action. As such, "Thaw" is a sublime mass of percussion riding solo on a soundscape, before being punched into shape by a powerful kick drum, while "Quirt" is more of a stripped-back techno slitherer for DJ tool use. Flip the wax and you'll find the weighty kicks and morphing sonics of "Beighty", alongside Ilian Tape's Rupcy's distorted, big room reinterpretation of "Thaw". All killer, no filler.
Review: Matlock maestro Ant Plate (he of Rhythm Plate fame) has been turning out edits, reworks and original productions under the alternate YSE Saint Laur'Ant alias for the best part of a decade. His release rate has slowed of late, though, with this Whiskey Disco outing marking his first release for almost a year. The material on offer is very strong, particularly lolloping opener "Just As Bad As You", a head-nodding revision of a Hammond-sporting soul jam that combines samples from an obscure 1970s cut with subtle new instrumentation. Other EP highlights include the gospel/dub disco fusion of bongo-riffic flipside opener "I Know I've Been Changed" and the percussive, jazzy, slow motion bumper "New York Paris", a killer groove marked out by layered congas, ear-catching double bass and fuzzy, post-punk style horns.
Review: The second 12" on Moscow-based mystery label Private Persons comes from Youngg P, a Ukraine-based DJ/producer whose debut release dropped on Kiev House a couple of years back. On the four tracks showcased here, he shows a good grasp of analogue house and techno dynamics. "Carpathian Rave" is a quirky, off-kilter jacker rich in buzzing electronics, liquid acid riffs and bustling house percussion, while "Ocean" fits the stargazing electronics of vintage Motor City techno to the saucer-eyed melodiousness of vintage Italian deep house. Meanwhile, creepy flipside "War" sounds like it was inspired by a mix of L.I.E.S style distorted techno and 1980s industrial funk. As for closer "Masher Track", it's a full-throated exploration of clanking, drum machine techno.
Review: KUMP's second multi-artist extravaganza - the Lyon-based label's first such exercise for two years -brings together tracks from a quintet of eccentric experimentalists. Clanking, horror-inspired creepiness is provided from the start via Jon The Baptist's lolloping "Hear No Evil", while those looking for some chugging, mid-tempo dancefloor sleaze should make a beeline for Maahrt's "Davardage". Elsewhere, Stove's "Chief of Nine Sisters" is an industrialist's take on tropical music with a suitably pagan twist, and Yssue and Yaws' contributions both sound like contemporary re-inventions of Nitzer Ebb style electronic body music (albeit with a touch more inherent looseness).
Review: The eagle-eyed amongst you may notice that the four cuts showcased here made up the first 12" of Indigo Aera's recent Lost Archives Special box-set. Like most of the rest of that expansive package, these tracks are exclusive and previously unreleased. The quality threshold is undeniably high: check, for example, the glistening, beat-less ambient positivity of Yamaoka's "Dragon Robe", and the glacial melodiousness of Skudge's rolling techno shuffler, "November". Those looking for a darker, slightly more intense take on techno should head for Museum's throbbing "RA", while label co-founder Jasper Wolff's "Float" is a study in classic, dub-influenced techno hypnotism.
Review: Lecce-based Marco Erroi (Common Series) returns with more of his hot edits on the second edition of the XXXV series. There's a strong, lo-slung Blaxploitation vibe going on in this volume, opening with "B Movie" followed by some trippy acapella action on the reduced, spacey and almost cosmic "Not Just A Groove". Flip over for a respectful edit of a well-known classic ("Dancing" - no guesses there!) and closer "Karon" which goes well deep and spiritual with its sweltering Afro vibe, thanks to Erroi's on-point splicing techniques. Tip!
Review: The Poverty Is Violence stable are firmly established now as an essential conductor for rabid, rowdy and downright rasping mechanics from subterranean operators of all shapes and sizes. Anonymous but reportedly veteran Dutch producer XXX previously appeared on the label in 2016 with the wild Noorder Scannen 12", and now returns with a bludgeoning new release. There's a consistent metal grind to the percussion on Westzaan Doelen, while the synth tones in between tend towards the jagged and abrasive, there's space and poise in the arrangement to lift this out of knuckleheaded noise. "Don't Go After Her" reverberates with clamouring intensity while the beefy chassis of "Just The Two Of You" shimmers under an acidic glaze - this is full-tilt deviant music executed with finesse to match the grime.
Review: Gifted Culture Collective member and occasional S. Moreira collaborator Xinner has decided to inaugurate a new alias, Robotron, via a first EP for ESP Institute. The man-machine's first missive, "Dream Resonator", is rather delightful, and sees him warp chiming, crystalline synthesizer melodies and glassy-eyed IDM style chords around an inventive and entertaining rhythm track that sits somewhere between Drexciya style electro and jazz-fired broken beat. The same rhythmical dexterity is also at the heart of similarly rush-inducing flipside "Ice", where bolder melodies and chunkier bass catch the ear alongside some suitably futurist electronics.
Review: Probably most known as the hook sampled in Zhane's breakthrough 1993 R&B smash hit "Hey Mr. DJ", it's only in recent years that it has been recognised as being from Michael Wycoff's 1982 sleeper hit "Looking Up To You". Taken from his second album Love Conquers All, Wycoff's short lived solo career sadly hit a dead end shortly after and he apparently went through tough times. That is until getting back on his feet via a new found faith and these days he is a Minister of Music at several Los Angeles area churches. "Looking Up To You" is a timeless soul classic featuring his signature vocal style, a lush string section, an even tighter brass section and powerhouse backing vocal team: you just don't get music like this anymore! B side cut "Diamond Real" (Tee Scott instrumental mix) is a more upbeat boogie number, with P-funk style elements plus neon-lit synths and disco guitar licks - wouldn't have been out of place on the Beverly Hills Cop soundtrack actually!
Henry Wu - "Substance" (IG Culture & Alex Phountzi remix) (4:36)
Son Of Scientist - "Spartan Riddim" (4:52)
NameBrandSound & Sonar's Ghost - "Can't Hold It" (4:43)
Alex Phountzi - "2nd Intention" (feat IG Culture & Henry Wu) (4:39)
IG Culture & Seiji - "Gangz" (4:26)
Review: Bruk bastions, the CoOp collective were one of the brightest, most exciting musical movements in the early to mid 2000s with their barbed, broken soul take on bass music emanating from Plastic People playing a heavy role in the forms of contemporary house music, dubstep and all things in between. Freshly reformed since a Boiler Room comeback in 2015 and loaded with new affiliates, the ensemble, First Word proudly present their first collective EP. Ranging from the jittering soundclash bashment of "Spartan Riddim" to the sensual Bias-like harp heaven of "Can't Hold It" via the technoid stutters of "2nd Intention", this marks the start of a very exciting new chapter for the CoOp crew.
Just Negotiate (feat Simeon Jones - Kaidi Tatham remix) (6:41)
Century (feat Hardhouse Banton) (4:32)
Review: Fresh from the runaway success of his Yussef Kamaal project with Yussef Dayes, Henry Wu returns to Eglo Records for the first time since 2015. While it's jazzy broken beat opener "Deep In The Mudd" - co-produced by Hardhouse Banton - that's naturally getting most attention, there's plenty to get excited about elsewhere on the EP. Check, for example, the hissing jazz of "Boards & Skins", Kaidi Tatham's deep, sparkling and effortlessly soulful re-make of "Just Negotiate", and the ultra-deep, Rhodes-laden bliss of "Reflections", a beat-less treat. Also worth checking is the EP's other Hardhouse Banton hook-up, "Century", which charges off on a high-tempo, mutant P-funk tip.
Review: You could say Robag Wruhme has been around the block a few times, thanks to a storied career that's seen him release music with Sonar Kollektiv, Circus Company and the many extensions of the Kompakt family. This latest release for Pampa is his second appearance on DJ Koze's label and he delivers a varied EP of sounds, ranging from the sewer techno of "Cybekks" to the crackly, John Beltran-like ambience of "Anton I". "Volta Cobby" is a sizzling cut for the summer festival stage (good timing Pampa) while "Anton II" is another ambient session, this time a little more animated thanks to chimes similar to what's heard in Pantha Du Prince's music. A record for the festival or the chilled out lounge room.
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.
Ed Wizard & Disco Double Dee - "Peoples Groove" (7:53)
Matt Hughes - "Sunshine" (6:11)
The Owl - "Pimp Talk" (6:38)
Rahaan - "Fine Feelings" (7:30)
Review: Editorial Records return with more disco infused flavours from around the world. These four nice and slow re-edits are sure fire weapons for any disco DJs crate. Ed Wizard and Disco Double Dee take on Brass Construction much like Venus did on Sunshine People 15 years ago for another nice re edit. Matt Hughes' "Sunshine" is an equally good effort; wait for the drop! "Pimp Talk" by The Owl retains the sleazy grooves of the original and Rahaan's take on fine boogie workout 'Feeling Fine' does the business, as always.
Review: Ali Renault's Vivod label continues to bring the goods, as recent missives from Skatebard and Monkeyshop (their first release of any sort for 11 years) emphatically prove. The imprint's latest release comes from newcomer Paul Withey, who follows up a fine contribution to a recent split E.O on Ruby Hills & Diamond Mountain, with a debut solo E.P of his own. The five tracks featured are nicely varied stylistically, but all boast the distinctive shimmer of analogue synthesizers and dusty drum machines. Highlights include the surging Italo-disco revivalism of "Pallas", cheerily positive synth-pop flex of "Yes Master", and the curious, Radiophonic Workshop style weirdness of "Beneath the Surface".
Review: On celebrating 22 years of Josh Wink's cult acid classic "Sixth Sense" on his legendary Ovum imprint, they've invited one half of Masters At Work, Louie Vega, and Israeli techno hero Shlomi Aber for a set of remarkable updates. Vega looks after the A side with a couple of sweltering reworks: from the bouncy, bass-driven groove attitude of the main remix which retains industry veteran Ursula Rucker's powerful vocal performance, to the handy dub version up next. On the flip, Aber certainly has come a long way since the days of Chicago Days/Detroit Nights - it's about spending all weekend at Berlin's Berghain these days - getting on some proper tunnel vision with his steely and austere rework.
Review: Studio One have put out plenty of big tunes and this is the latest to get a big reissue on a super loud-cut 12" single for extra devastating impact. It's a well-known classic every self-respecting reggae fan should know and blows up any party, especially when tweaked like these two versions. They were originally produced by Studio One bossman Coxsone Dodd and have been covered by The Clash as well as sampled by The Fugees and hip hop MC KRS One. The snaking lead synth, the rumbling drums and classic ska trumpet are all straight up irresistible.
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: YES! We'd been waiting on this collaboration from UK start vocalist Wiley and shadowy electronic pioneer Zomby for a long time now, and it's about time it's landed on our shelves. "Step 2001" is a straight-up grime piece, a clicking, twisted groove made up of darting hi-hats and pacman sounds; you know when they say "they don't make them like they used to!"? Well, this doesn't apply here, as it's a serious head-dive back into the early noughties scene. There's also an instrumental version for maximum damage.
(Soul) Rebel 23 (Reginald Omas Mamode IV remix) (3:30)
Snake Eyes (Ishmael Ensemble remix) (8:11)
Review: If you've not yet got your ears around Roger 'Chip' Wickham's sensationally sunny, jazz-fired "Shamal Wind" mini-album, we suggest you check it out post-haste. In the meantime, Lovemonk has reminded us of its magnificence via a new set of reworks from some seriously hot producers. Max Graef handles side A, first serving up a chugging, mind altering and heavily percussive "Bongo Mix" of "Soho Strut", before reaching for the sub-bass and fizzing, juke-tempo jazz rhythms on the bonkers but brilliant "Bass Mix" of the very same song. Over on the flipside, Peckham beat-maker Reginald Omas Mamode IV serves up a dusty, Rhodes-laden take on "(Soul) Rebel 23" featuring his own soulful vocals, before Gilles Peterson favourites Ishmael Ensemble mix live jazz instrumentation with rolling house beats on a sublime revision of "Snake Eyes".
Review: Dean Meredith’s White Light Circus returns to the 12" format with the celestial funk of "Rocket Ride" (extended version), a synth and drum work out that pays its dues to not only the robo-disco of Giorgio Moroder, but also to the Teutonic modulations of Kraftwerk and their oscillating computer soul. For the B-side, Meredith hands over the controls to Andy Meecham, who re-configures the rocket’s motherboard, presenting us with an Emperor Machine Version that spins us sideways into a meteor shower of insistent rhythms, sputnik melodies and sound effect squiggles. This is the follow up to 2005’s acclaimed "Marching Orders" which had a legion of DJ supporters including The Glimmers, Headman, Trevor Jackson, Soulwax, Prins Thomas, Rub N Tug, Pedro Ed Banger, Idjut Boys, Optimo, Stevie Kotey & Mr Scruff, etc.
Review: Stunning stuff here from the mysterious but utterly intriguing West Loop Chicago, an outfit only known for two previous releases on City Volt and nothing else. Taking cues from the broken beat and jazz scenes, this new record is a force to be reckoned with, not least as "The Serpent" comes wheeling in with a skittering drum funk and bugging synth lines to send you pinging into the cosmos. On the flip, "Divinity" has a more organic feel with Rhodes keys and piano dancing across the rhythms - these aren't specifically billed as edits, but given the project's background in disco re-rubs it's safe to assume these are two soul jazz bombs buffed up for your wild card spinning pleasure. There's even bonus beats for each track included - how considerate!
Review: You can always depend on Berlin imprint Mojuba for quality deepness. Sven Weisemann has been a longtime staple of the label and presents his new four tracker. "Interface Jitter" gets things off to a flying start with its catchy melody offset by a tough and shuffling rhythm. He then serves up some proper and utterly sublime early '90s ambient house stylings on "Sparkling". On the flip is "Motion Capture", getting back into the emotive deepness with smooth melodies, dark chords and nice splashes of dub chords for added drama. The dub version "Motion Beats" gets well funky by comparison!
Review: Bamboo Room lands on (Emotional) Especial in a fit of 80s grooves as you would expect to find on the label, but this is in fact the handiwork of debutant duo Duncan Thornley and Laurence Horstman. As Weird Weather they're exploring the fertile hinterland between proto-house, dub abstractions and worldly sounds - they may not be the first to do so, but they sound like complete naturals in this curious bubble. "Sequence 5" is a driving beatdown peppered with space-shaping delays and reverbs, while "Trash Dolphin" takes a cooler approach with some delicate percussive tones and chimes. "Bamboo Room" is a stark, stern beat track fit for a mid 80s cop thriller soundtrack, and the "Ormus Mix" that follows shrugs off most of the drums and heads into satin-lined ambient territory.
Review: In 2016, Family Groove Records released a 12" of previously unheard 1979 demo recordings by Webster Station, a boogie-funk band from Dayton, Ohio whose studio efforts were initially binned by Warner Brothers for not being commercial enough. Demand for Family Groove's limited 12" of their recordings has remained high, so the label has decided to do a reissue. There's much to admire throughout, from the high-octane thrills of opener "Are You For Real" and the spacey warmth of the super-soulful "Can You Feel My Love", to the sugary sweetness of the Latin tinged ballad "Lady" and righteous closer "If You Feel Like Dancing", a killer combination of spacey synths, crunchy drums, urgent vocals and killer Clavinet lines.
Review: After a strong run of releases between 2013 and 2014 that saw the likes of Hakim Murphy and Mark Forshaw grace their grooves, III Rivers are back in action with a sterling new effort from apparent debutant producer Dane Weaver. The techno foundations of the label sound as strong as ever on "Atom Soup," which charges ahead on firm but malleable arpeggios with an acidic undertone. "In The Clear" is a more wriggly affair with a swung groove and plenty of off kilter delights for wonkier dancefloors. "A Brief Trip To Space" opens up the B side with some delightful anchorless tones, and then "French Stu" burrows deep into the outer realm of machine manipulation in a gritty demonstration of leftfield techno.
Review: Swiss based Italian DJ Gianni Siravo continues to excel under his recently established Washerman alias, with an appearance on the newly minted Saft imprint following a superlative drop for Drumpoet earlier in 2012. Whilst that releases focused on no nonsense booming warehouse sounds, the three track Deeper For Me approaches matters from a slightly more classical deep house angle (as you'd expect from the title) Opening track "Just A Touch" hogs the A Side with one of those thick punchy grooves reminiscent of 90s US garage but its complemented by vast washes of subaqueous melody that lend the track some contemporary feeling. On the flip, "Deep Feelin" is rhythmically more clipped, lead by a nagging vocal under tone and slick percussive embellishments that keep you on your toes, whilst Washerman playfully drops drunken keys on top. Finally "Mellow Go" stays true its title, with the straight groove deep in the mix as the woozy keys and incandescent chords are allowed centre stage to work their magic.
Review: The seemingly bottomless Greensleeves vaults turn up more gold here with two prime cuts - Wailing Souls' "Who No Waan Come" and Al Campbell's "Unfaithful Children" - that are treated to a first new pressing since 1981. "Who No Waan Come" is silky and sedentary as they come, with kick drums just about managing to propel things along beneath gorgeous doo-wop harmonies. The Linval Thompson produced "Unfaithful Children", however, is a more driven affair with authentic roots. Psyched-out effects, endless reverb and hits that ricochet around, making it a widescreen dub that draws you in and takes you along for the ride.
Review: Following the recent dip into the Theo Parrish archives that was The Twin Cities, Phil Weeks' Robsoul imprint looks to another one of Detroit's adopted sons in the form of Rick Wade. Like that recent Parrish reissue, Weeks re-releases another three tracks from Wade's bulging discography. The upbeat disco loops of "Players Theme" was originally released on French label Funky Chocolate in 2002 and still sound fresher than anything being plied by the Soundcloud dwellers today, while "Can't You See" from 2003 provides a more soulful take on house music. On the flip, the tracky funk and cascading string melodies of "I Feel Good" originally graced Wade's own Harmonie Park imprint in 1998, but sound no less vital today. Essential.
Review: Despite some ill advised comments from Vondelpark stating their apparent lack of interest in current dance music trends, it's clear that the R&S signed troupe focus on a sound that makes them eminently remixable. Robag Wruhme is the latest producer to remould Vondelpark on this pair of remixes for DJ Koze's Pampa label, drawing on the sounds of "California Analog Dream" for inspiration. Kudos to Koze as the Kompakt mainstay is on sublime form here; the lead 'Moppa Habax NB' version retains certain elements of Vondelpark's original but weaves a loving ultra-violet sheen around them whilst laying down the kind of sumptuous house beat that makes you ponder the validity of Vondelpark's aforementioned comments. The accompanying 'Habay Latoff NB' version pulls the track deeper into DJ tool territory and feels like the sort of track Michael Mayer would drop deep into a set.
Review: Having only just released an EP through Midgar, 2017 looks set to be a winning year for techno deviant Von Grall. The Semantica associate is up on Modularz this week, and from the tenebrous sounds of "Seeking Loyalty", it's clear that the producer is in absolutely no mood to stray outside of the techno framework. This is some pretty dark material. "Distinction" is another hefty roller of a tune, this time stripped-back to a hypnotic sequence of bleeps and airy pads while, on the flipside, "Next Form" bashes out a cacophonous flurry of electrifying tones, and "Obtain It" flutters its pulsating bass tones over a minimalistic array of 6am sonics. Nasty, unforgiving gear for the dancefloor.
Review: Paris based producer Von D is having a busy and year having already worked with Moresounds and Rider Shafique in 2019. This time out he links with Jamaican vocalist Blackout Ja who himself has contributed to this label before now. This latest excursion is a big dancehall stepper that manages to unite authentic old school reggae with contemporary digital vibes. It features huge oversized hits and watery chords, droplets of synth and tinkling keys that all coalesce round a meandering bassline. A surefire hit that will resonant with fans all over the world.
Zombies Under Stress - "Maan Zal Zijn" (Svengalisghost remix)
Mark Forshaw - "Submission"
Review: REPRESS ALERT: Contort Yourself has once again gathered the best and boldest from past and present for its fourth EP. To begin with we have the grimacing visage of Volition Immanent, an intense live act made up of Parrish Smith and Mark Van de Maat (Knekelhuis). Behind rawkish distortion, splintered beats and acrid bars screams a boiled anger; a track spitting on the divides of punk and electronics. Nastiness is taken up a notch as noise ne'er-do-wells Zombies Under Stress take over. Static is bent and doubled across thick chords and collapsed clap in the 1986 "Maan Zal Zijn" before the raw and raging battery of "In Onze Tijd." L.I.E.S. regular Svengalisghost grapples with "Maan Zal Zijn, channelling the original's rage into a mechanical monster. The 12" is bookended with bite as Mark Forshaw (Tabernacle/Berceuse Heroique) closes with the tortured and torrential thump of "Submission." A callous, caustic and fervently cruel EP.
Review: Parisian producer and DJ Voiron got his break back in 2014 with the Radome EP on Concrete Music and he's popped up on the excellent One Eyed Jacks operated by Photonz as well as Lyon's Rave or Die since then. Across his releases so far, Voiron's shown a willingness to dabble in the crawlspace between acid, electro and techno no it's no surprise to find him land on local concern Nocta Numerica Records! The Paris label may be young but they've impressed with releases from Dynarec and Cold Colours and this bright yellow Voironizer 12" is killer. The title track's usage of synths and drum samples displays a sense of humour redolent of Ceephax Acid Crew, whilst "Building Voiron" and "After Chez Oim" are delightful attempts at classic synthwave.
Review: Sounds like it came out of Lagos in 1971, actually written and recorded in Lyon in 2015: Voilaaa is the brainchild of Bruno Hovart whose long relationship with Favorite goes way back to his days as Patchworks, Mr President and The Dynamics. Recording on a whole host of vintage machines and calling upon local African singers both cuts have a real authentic sense of realness; "Spies Are Watching Me" drives with big horns and swooning strings which isn't dissimilar to the work of The Movers, while the TY Boys-esque "Le Disco Des Capitales" is a heavier, more concentrated slab of floor-minded disco where the groove takes more of a forefront role. Apparently there's a whole album of this cooking... We can't wait to hear it.
Review: Initially a duo responsible for a sole 7" release on Blind Prophet, Void Vision re-emerges here as the sole project of Shari Vari on this sublime 12" for the excellent Mannequin Records. The three track Sour precedes a debut Void Vision LP for the Berlin-based operation which is apparently due later this year and we cannot wait based on the sounds explored here. Lead track "Sour" is a ripe and muscular Italo track which is profoundly danceable and wholly erotic, whilst the accompanying remix from Bordello A Parigi pair Vanzetti & Sacco does a splendid job in magnifying more dancier elements of Void Vision's production. The full throttle instrumental thrust of closing track "20/20" will please fans of Void Vision's earlier work though we are more focused on what she's going to do next!
Review: Since serving up one of last year's most memorable albums in the self titled LP for Prologue, Voices Of The Lake duo Donato Dozzy and Neel have tread carefully, contributing only a track to Mike Parker's Geophone series. They adopt a similar method with this release for Concrete that sees them drop one production which is complemented by a flipside remix. Very much remaining in the techno netherworld, "531 Hz" is a ranging cut made epic by a vast space opening up in the top register, with a synth that reaches skywards in a kind of desert-based incantation that's as uplifting as it is beguiling. Kab and Minilogue combine for the remix that switches up the ethnic mood for a far more machine-driven ride through aquatic tones and melodies; a veritable oasis of a foil to the dusty A-side.