Review: REPRESS ALERT: Thule are back on the Icelandic techno reissue trip, this time returning to a serious classic from Sanasol (Yagya & Thor) that originally came out in 1997. This particular, highly sought after, gem leads in with the majorly heady house throb of "Seveneleven (Original Mix)" which piles the dubby processing and lush melodics on heavy while still retaining a sense of airiness to uplift the soul. By contrast, the "Closedonsundays Mix" focuses on a tough but crooked beat and that undulating bassline for a completely different flavour. On the flip, the "Sanaramalonger Mix" returns to the mellower flow of the original but with a more submerged finish and some pronounced dub stabs. Then the "Ozzy Mix" finishes the package with a minimal take that prefigures the upsurge of dubby clicks n' cuts laptop beats that would explode in the years to come. Essential tackle for all deep techno explorers.
Review: Sahau is a quintet comprised of Bucharest scene hero Dan Andrei, with locals Paul Agripa (Ragrip) and Serban Goanta under their AK41 moniker - all highly respected DJs and producers within the Rominimal scene. The third collaborative effort on their Zimbru imprint and following up 2017's "As It Wasn't There EP", "Cielo EP" is awashed with mesmerising vibes from start to finish. The off-kilter broken beat hypnotism of opener "El Senor De Los Cielos" is as esoteric as you like over its meandering 15 minute duration, while B side "Fresno" is a deeper and groovier minimal funk effort which is perfect for getting weird at the afterhours. Closing cut "Cablung" is an introverted and bass-driven affair that takes a much darker and experimental turn but equally suited for one of those sleep deprived Sunday afternoon shenanigans.
Review: Shahr Farang continues to blossom as a label, primarily as a vessel for the work of Sohrab Karimi and Rasul Gafarov, better known as Ahu and Lenta respectively. On this occasion, Ahu and Lenta have teamed up to present some intriguing clippings from two separate improvised studio jams. As is customary with the label, the primary mode of expression is minimal techno shrouded in hazy textures and atmospheric matter, but it veers more towards the kind of clicks and cuts you'd expect from a classic Scape record than anything geared towards the dancefloor. The steady tick of a 4/4 kick means this music isn't necessarily consigned to the headphones though - the right kind of warm up slot or backroom could be just the place to melt into these delicate productions.
Review: Alex Pervukhin has enjoyed a productive 2019. This rock solid four-tracker on Colours Of Crocus marks the Ukrainian producer's fourth single of the year, following similarly impressive outings on Recordeep, Hubble Recordings and his own Laconica imprint. It's an attractive and warming affair, with Pervukhin effortlessly fusing elements of late '90s UK tech-house and the dreamy, spacey end of the deep house spectrum. Opener "Late Run", whose melodic flourishes, tactile synth bass and intergalactic electronics are wonderfully immersive, is the benchmark, with Kirik's flipside remix offering a tougher and more hypnotic take on the same seductive elements. Elsewhere, "909's Dreams" is more driving but no less atmospheric and melodious, while "Next Week" is a fine chunk of drowsy late night hypnotism.
Review: The Aesthetic label is steadily growing as yet another strong side to the Constant Sound empire, and they're sounding fit as a fiddle with this latest drop from Niko Maxen. "Aesthetic 04" leads in with "Calibans Dance", a swirling, dubbed out affair with intriguing percussive tones to add an intriguing edge to the stripped back house groove. "Lessons" has a heads down, twitchy demeanour it's impossible to resist, and then "Twelvty" summons up some elegant synth strokes that hover in between the shuffling beats. The latter provides more than enough inspiration for Kepler to deliver an astounding remix that plays around with bouncy arps and pointed house rhythms in his inimitable style.
Review: Diego Krause is a key part of the effervescing Berlin underground thanks to his work as a DJ, producer and co-founder of Beste Modus. Here he steps out on Mulen's 20th EP with three slick tracks that perfectly straddle the divide between deep house, tech and minimal. Opener "Apogee" gets busy on supple drum programming with all sorts of astral pads spiralling round the groove and a burrowing bassline brings the funk. "Dive" hits harder but is still detailed with deft synths, alien motifs and warped pads that make it so much more than a purely functional track and the lithe and elastic closer "Dominion" is simply irresistible.
Review: Jamie Jones has been busy in the studio after another busy summer lighting up Ibiza, because this is one of two new offerings this month. It finds the agenda-setting Welshman on his own Hot Creations and in collaboration with The Martinez Brothers. Between them this celebrated collective lay down "Bappi", all drilling bass and razor sharp hi hats that are deep but driving. Flip over for a "Warehouse Mix" which recalls old school Windy City basslines and pixelated chords lighting up the bare bones grooves.
Jamie Jones & Darius Syrossian - "Rushing" (extended mix) (5:43)
Jamie Jones & Darius Syrossian - "Rushing" (Afterparty Basement mix) (5:36)
Darius Syrossian - "Come On Come On" (extended mix) (6:33)
Darius Syrossian - "Kouka" (Warehouse Basement mix) (6:17)
Review: Jamie Jones and Darius Syrossian are both house heavyweights, but with very different vibes. It's fascinating that they have come together on this EP then, with their collaborative "Rushing" opening the EP in steamy fashion. It features a well worn vocal repackaged on bulky, bass driven house drums that are designed to get the crowd pumping their fists. The "Afterparty Basement Mix" is even harder hitting with some chords layered in for extra fun, then Darius goes solo on the flip for "Come On Come On", which fits in with his rolling, well sampled house style and is a sure fire crowd pleaser. The more stripped back and hypotonic "Kouka" is perfect for big spaces and bringing crowds together to march to a beat.
Catch Me If You Can (Jorge Savoretti Ethereal dub) (7:08)
Review: Michael James' "Winds Of Change" EP was a big look for Constant Black, and now the eminent minimal house label draws on a hit list of sharp shooters to deliver some deadly remixes. Huerta is up first with an angular but rolling dub twist on "Catch Me If You Can", before Nick Beringer pings things in a wonderfully hazy direction with his "7am Dub" of "Stormy Skies". Pascal Benjamin gets into a tight, focused funk on his version of "Reservoir", and then Jorge Savoretti flies in an "Ethereal Dub" of "Catch Me If You Can".
Review: J Room steps up with a contribution to the minimal tech house conversation that sees emergent artist Jale making a strong statement with three powerful original tracks and a remix from Cosmjn. Jale's style leans on Detroit string synths for a sense of melancholic grandeur, and densely packed rhythm sections that bump as much as they punch. "Orbital Dream" takes things in a dreamy after hours direction, and "Eclipse" works up some rugged synth trysts that snap around a subtly broken beat. Cosmjn's remix of "Orbital Dream" is not to be slept on either as it subtly adjusts the accent of the groove to make an immersive tech house roller par excellence.
Review: EYA Records presents a double 12" of plush techno and house spanning styles, giving four producers the chance to showcase the breadth of their sound with two tracks each. Innershades brings emotive 90s swoon and peppy acid to the A side, before Two Phase U slips in a little uptempo robo-disco sauce and a feisty jack track. Otis takes things in the direction of wiggy proto-trance and bleep techno, and then Zots finishes up with freaky synth work dripping with mischievous personality. This is a set of tracks that demands to be noticed - don't sleep.
Review: Holden's 2006 debut album was an astonishing one that gets a timely reissue on double crystal-clear splatter vinyl. A high watermark for proudly synthetic and computer made music, it was the bold arrival of an artist who endures as an innovator to this day. "The Idiots Are Winning" is a masterclass in unhinged grooves, glitchy electronic sounds and mutant sounds that set a new benchmark in experimental textures, sound design and dance floor clout. "Idiot" is the standout banger, "Lump" is more trippy and heat workout, and "10101" is the twitchy and mesmeric workout you cannot escape. Music as idiosyncratic as this doesn't come along too often, and even 13 years left it still sounds fresh.
Review: Four years ago, Vincent Lemieux + Guillaume & The Coutu Dumont made their collaborative debut as Flabbergast via a fine EP on Circus Company. They've been silent since, meaning that this belated sequel on Yoyaku feels like a big release. "Enweye" operates towards the deeper end of the stripped-back tech-house spectrum, with the duo wrapping intergalactic synthesizer melodies around rock solid kick drums, crashing cymbals and fluid tribal percussion on impeccable opener "Nowel". "Jowanne" is arguably even deeper, with cascading ambient lead lines tumbling down over a shuffling rhythm track and more tropical drum hits. Over on side B, Varhat offers his interpretation of "Nowel", in the process delivering a loose-limbed tech-house percussion jam with hazy, sun-kissed melodies occasionally rising above the sweat-soaked beats.
Review: Tomoki Tamura and Tuccillo are back together once again as Doublet, with both seasoned electronic champs having fun in the studio jamming out the kind of stripped back, heads down grooves you'd expect to hear them play out. "Tee's 8" is a cheeky A side jam with the kind of acid line that goes down easy and then works you from the inside out. "Three Thousand Men" has a slight dubby thread to it which sits comfortably amongst the sturdy groove of the drums, and then "Tentation" switches gears for a bright and melodic creation that skips around in funky syncopation without even needing to worry about a kick drum.
Review: Adam Monti aka ADMNTi heads up 4Plae Records out of London and joins Casey Spillman (who just debuted on Infuse) for his label's fifth release. Monti opens with the hypnotic, bass-driven and swing-fuelled loops of "0207", a sublime groove reminiscent of iO (Mulen) or Jack Wickham, while Spillman's contribution comes in the form of the very UK influenced bounce of "Juice Appeal". This takes the best of 2-step and garage (and even the mandatory "rewind") to create a sexy serving of late night mood music. On the flip they flip the script, with both artists remixing each other's track and for what it's worth we reckon it's all about Spillman's remix of Monti's - tough rolling and functional tech house that's aimed squarely at the main room at peak time!