Review: Gilles Aiken is not short of space in which to express his distinctive ideas about fusing dancefloor minimalism with a global palette. While his more streamlined house and techno fare is generally released under his Edward alias, Desert Sky has carried some of his wilder ideas with stunning results. The first few releases came shrouded in mystery on a self-titled label, but since then Desert Sky has landed on Assemble Music and Baby Ford's iconic PAL SL. Aiken returns to the latter now with a hefty album project that gives Desert Sky the appropriate room to breathe, and Aiken sounds free spirited and expressive through every inch of tumbling percussion, deft handclaps, spooked out textures and more besides. It's a heady trip through dusty samples configured in fresh, invigorating ways, ranking among the strongest artistic statements Aiken has made to date thanks to its worldly inspiration and otherworldly end results.
Review: Aptly setting the scene with some dance-floor absurdity, Komodo comes Running into The Sun for NAAR 015.
Perfectly obtaining the dance-floor ambiance, 'Running into The Sun' produces the visceral beat that gets the party started, with quintessential house stabs channeling the tracks inner balearic heat. Next on the A, Eric Duncan's remix of 'Running into The Sun' funnels the original's heavier elements and pours them into a rattling house shaker. A
On side B, the steady pace of 'Slow Burning' swiftly evaporates with blissful counter melodies that intertwine with arpeggiated synths, sludgy 303s and propulsive drums that create a hypnotic timbre. 'Between Shadows' explores the balearic-beat once more, with opposing guitar melodies vibrating as the soundtrack to this drive-time burnout. Finally, new kids on the block, Latrec add their intrusive Techno remix of 'Slow Burning' to complete the release.
Review: Fernando Zapico AKA Z@p is one of those producers whose work is always worth a listen, primarily because his quality threshold is very high. This two-track missive on My Own Jupiter picks up where his recent EP for Japanese imprint Cabaret left off, delivering faintly foreboding futurist techno whose sci-fi inspirations are clear to hear. A-side "Brutalismo" sets the tone, with paranoia-inducing analogue bass, creepy synth stabs and swirling electronic textures rising above a punchy drum machine-driven groove. "We Control The Sound" is notably denser and a little darker, with sturdier beats, moodier chord sequences and a bone-chilling breakdown.
Review: Donato Dozzy's latest 12" sees the Italian producer offer up new "variations" (that'll be remixes to you and me) of two cuts from his vast back catalogue. On the A-side he offers up a new version of "Parola" from his experimental 2015 album with operatic Italian vocalist Anna Caragnano. While the original had few dancefloor pretentions, this new revision is hypnotic, druggy and intoxicating with Dozzy fusing short loops of Caragnano's distinctive vocals with a metronomic bassline, soft-touch techno beats and his usual charcoal grey aural textures. He switches focus on flipside cut "12H.5 (Remix)", offering up a dreamy slab of horizontal techno hypnotism that's pleasingly soothing and seductive.
Review: Remarkably, 18 years has past since Red Ember Records offered up the first installment in their "Deepsounds" series of multi-artist EPs. Volume five kicks off with "Relax", a warm and fuzzy chunk of head-nodding deep house hypnotism by Sauco and Prakash that boasts some raw analogue bass and oven-hot stabs. Erell Ranson goes even jazzier, deeper and more melodious on the superb "Beauty Of Sadness", while Frankie Soukal's "Polaroid" wraps spacey, dubbed-out and delay laden chords around a chunky groove. Arguably best of all though is Tominori Hosoya's luscious "2 Years Later", an ultra-deep, dreamy and positive cut that's twice as tactile as Play-Dough and infinitely tastier.
Review: Prince De Takicardie has been part of the Lumbago family of artists for some time. He's already served up some serious heat via the Signal Phantasm project (alongside studio collaborator Welwert) and here makes his solo debut for the Lyon-based label. He starts strongly via the jumpy acid bass, twisted electronics and thrusting grooves of "Space Dandy", before giving his TB-303 lines more prominence on the retro-futurist techno clank of "Scorpio's Track". Arguably even better is "The Haunted Cabaret", a sparkling and spacey slab of storming techno-funk, while "The Gates of Hell" sees the French producer wrap rave style stabs and jacking machine drums around another Chicago style acid bassline.
Review: Italo-Iranian producer Sciahriar Tavakoli, commonly known as Sciahri, after releasing on renowned label as Ilian Tape, Mord, Opal Tapes/Black Opal and MANHIGH finally presents his first long playing record "Double-Edged", and he does it on his own imprint, Sublunar Records.
The LP is an extended, carefully compiled exploration of the many facets of his signature sound, where emotional melodies collide with dense and rasping basslines.
The artist aims to express emotions with unsettling simplicity, showcasing techno compositions that are both thoughtful and primal.
Within the space of ten tracks, Sciahri's sound design reveals his structure, pushing the listener through a labyrinth of textures and rhythms.