Review: Central Processing Unit chief CP Smith is keeping tight-lipped about the identity of the shadowy producer(s) behind the Secret State project. Smith describes this debut EP as "an attempt to rise above the all-pervasive, vacuous, decaying culture." We'll let you judge whether the men or women of mystery have succeeded in that aim, but we certainly think it's a fine EP. By CPU standards, it's a rather eclectic affair, flitting between druggy, arpeggio-driven alien funk ("CIA UFO Google Search"), ghetto-tech influenced deep electro (the wonderful "De-Pattern"), sparkling dacenfloor electro positivity ("The Sleep Room") and glistening, bass-heavy techno/proto-house/deep house fusion (sublime closer "Weep For Joy").
Review: Tolga Baklacioglu's releases may not be all that frequent, but when they do arrive they're always worth a listen. Your Secret Face is his first outing of 2018 and sees him join forces fast-rising Russian artist Dee Grinski. The latter's stylish - and heavily distorted - spoken word vocals can be heard on the EP's opening and closing tracks, with the latter - an 11-minute experimental epic that could feasibly soundtrack nuclear Armageddon - also benefitting from her drowsy, improvised singing. No doubt she contributed heavily to the EP's instrumental cuts, too, which are bleak, fuzzy and industrial in the best possible way.
Review: Nick Sole is back on Mojuba! If you ever asked yourself how deep-house should sound like, now you have the chance to experience. The a-side of "World Dubbing" is an epic ocean of the deepest house sounds that will blow you away with its hypnotic organic feel and harmony. The b-side is a dancefloor shaking drum track with a catchy dubby atmosphere. Get it while you can!
Review: Torsten Profrock’s T++ project has continually spread its wings since conception in 2005. Championed by fans of techno, dubstep, experimental and drum & bass alike, his latest EP for Honest Jons (and rumoured to be his last under this monkier) showcases the amalgamation of styles and sounds that has earnt the German such a far reaching fanbase.
If it does prove to be the final T++ release ever, then the alias will have left us with the most expressive and energetic of his works. Adding a real sense of personality, Profrock unearthed a handful of samples of the singer and ndingidi player Ssekinomu, recorded in East Africa in the 1930s and 40s in the label’s vaults for this release. Skilfully, the producer works these snippets into the complex rhythm structures, giving his music a human touch that has never been seen before. Profrock looks to the radical fringe of UK garage for the snapping 2 step vibe in these rhythms that remain central to all four tracks on the EP. This results in a clutch of tracks that take on an immensely tribal and subconsciously innate feel. They morph new structures from the forms of 2 step, techno and drum & bass around which Profrock wraps twisted FX and weighty sub bass to create one whole, throbbing organism. So with quite possibly his final release, T++ leaves us, rather fittingly, with a record that sounds at once both ancient and modern. It has a totally unique tone, like a form of tribal language that can only speak to and be understood by today’s culture through these sub-heavy, atmospheric sounds.
Review: Roshan Chauhan aka R.O.S.H. is a British producer and studio engineer that has released previously on his eponymous and Drumz For Eternity imprints, but now inaugurates the Negative Spaces label. The team behind the label held their first event in the intimate confines of London's Waiting Room back in March with Tasha, Object Blue and here is the first release. The A side features the rather hypnotic "Will I Make The Turn?" awash in spectacular layers of melody and all round futurist aesthetic. On the flip, it's a more straight-ahead affair with the bass driven "Sorry...I Can't" aimed squarely at A.M. dance floors with its strobe-lit/heads down aesthetic.
Review: The shadowy Frozen Border is back, however they're more prone to naming their artists these days than parent label Horizontal Ground. That being said, it's the mysterious Scarpa stepping up this time for the label. All we know is that he/she is from the U.S.A. and that Wilderness features typically dark and obscure techno experiments. Starting out with the dark soundscape of "Pi Hahiroth" it then ventures into the same knack for organic and broken groove of label mates Szare on "Prophetic Victory" or "Pillar Of Fire By Night". As you may have noticed by now, biblical references are a constant throughout the album. "Cloud By Day" and "The Horse And The Ride" are the real highlights on here; the kind of detailed and atmospheric techno that at times the label is synonymous with... and packed with such ferocity! It goes out all guns blazing with the epic 12 minute journey that is "Pilgrims Plea". 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: London's Loft Records are back with Bristol DJ/producer Crawford. His new killer "We Go Back" is an evocative tech house number that calls to mind the life-affirming vibes of classic Kompakt Records. It also receives a couple of decent remixes on the flip: first by rising British producer Kiwi and Irishmen Brame & Hamo of Splendour & Squalor fame. The latter's rendition is the true winner. A Detroit style hi-tech soul stomper, in the vein of Kevin Saunderson or Aril Brikha. Second original offering "Techno Rhumba" uses some hypnotic acoustic guitar melodies during the drop - which soon gives way to a woozy, slo-mo and heads down groove.
Ways Of The Sun (Peter Kruder Into The Black Hole remix) (7:22)
Ways Of The Sun (Manuel Fischer remix) (8:38)
Ways Of The Sun (Armitage remix) (6:43)
Review: Second time round for the much-loved "Ways Of The Sun", Frankey and Sandrino's 2015 collaboration with vocalist La Oberg. This time, there's no original mix to admire, but rather a quartet of fresh remixes. Jimi Jules steps up first, wrapping dubbed-out synth splashes and La Oberg's evocative vocal around a loose and languid dub disco-meets-deep house groove, before Peter Kruder re-imagines the track as an acid bass-propelled chunk of analogue deep house goodness. Over on side B, Manuel Fischer dishes up a sunrise-ready organic tech-house take while Armitage slams down a loopy and hypnotic peak-time revision that subtly builds throughout.
Review: A new project based out of Copenhagen - Aether's Spring comes shrouded in mystery but makes a bold statement with this first transmission. WATER: Dancing Moon 12" leads in with "House In Blue Rain," a downcast track bathed in melancholic pads and blown out percussion around a steady 4/4 tick. "Dancing Moon" is a more kinetic affair that works with all kinds of synth shapes alongside some primal drum machine percussion that lends the track a new wave quality that suits it just fine. Closer "Throne Of Clay" spreads across the B side in a brooding, journeying epic fit for the likes of classic James Holden or a more wave-minded Jon Hopkins.
Review: Felix K's Hidden Hawaii is now a staple of Berlin-style techno, but describing it as such doesn't really do the label its full justice. That's because this isn't just another bunch of relentless club tracks; instead, the label has always been careful to release material that is prone to opening one's mind and allowing the techno genre to broaden its general outlook. This year, Felix K himself, alongside frequent associate DB1, have been focussing heavily on their latest Elemnt moniker, and this new EP is the latest iteration of this project. Split from 1-4, each mix of "Water" offers something that's just out of reach, a blend of morphing, techno-reminiscent sounds that never quite manage to take a full shape, or dissolve into straight-edged dance music. The hollowness, and the kinetic energy within that, is what we've always loved about this fine imprint, and we urge you to find that same piece of inspiration.
Review: Having kicked off his Etheric label with the Origins EP earlier this year, Leonardo is back with more adventurous machine music for the spiritually inclined dancefloor. "The Offering" has a dark and moody tone thanks to the snaking synth line wriggling its way through the track, perfect for eyes-down submission as the strobe blinks slowly. "Symmetry" is a more open affair, all soft top chimes and vapour blasts pinging around an easy electro beat, while "The Afterlife" strikes somewhere in the middle with a tougher, club-minded sound that still favours a sunnier sound palette. "Droplets" is the consummate B2, shrugging off the dancefloor rules of the previous tracks to trip out in a dubwise atmosphere that further strengthens the quality of what Leonardo is up to.
A Gargantuan Melting Face Floating Effortlessly Through The Stratosphere
Review: Paul Woolford has spent a good chunk of his downtime over the last year or two making Special Request tracks in his pants. So much so, in fact, that he's created enough material to fill four albums, all of which will be released this year. "Vortex" is the first and is, in Woolford's own words, high on "bangers" and low on "conceptual guff". In practice, that means lots of gut-busting low-end frequencies, trippy analogue electronics, razor-sharp rave-style riffs and bustling rhythms that variously touch on electro, early '90s progressive house, breakbeat hardcore, slamming Joey Beltram style techno (see album highlight "Fahrenheit 451") and metallic, delightfully mangled drum and bass ("Fett", whose wonky electronic undulations hark back to early Woolford classic "Erotic Discourse").
Review: Back in April, Blawan and Pariah rebooted their hardware-based Karenn project after a five-year hiatus via a rugged EP on their freshly minted Voam imprint. Here the pair inaugurates a new series, Voam Club Archive, in which they'll offer up tracks recorded during live performances. For fans of raging, hard-wired club techno, there's much to enjoy, from the intoxicating, acid-fired stomp of "Berlin - Live Cut 1" and the redlined intensity of the dark and distorted "Berlin - Live Cut 2", to the Sheffield style bleep melodies, wild electronics and Lory D style grooves of "Rome - Live Cut 1". Arguably best of all, though, is the metallic, forthright insanity of closing track "Amsterdam - Live Cut 1".
Review: Fluxion's Vibrant Forms series was launched by Basic Channel offshoot Chain Reaction at the tail end of the '90s, and gathered together previously vinyl-only cuts and previously unreleased tracks. On this third volume, the Greek producer has decided to take a different approach. In his words, this is a "proper album" rather than a compilation. It's typically atmospheric and immersive, offering up tracks that nestle somewhere between minimal techno hypnotism, smoker-friendly dub techno, and deliciously spaced out ambient dub. Rhythmically, it's a little more eclectic and mixed-up than we've come to expect, but his core values - use of space, tape delay and lo-fi aural textures - remain in tact throughout.
Domenic Cappello - "Not A Festival Track" (Basement mix) (6:57)
Stojche - "Decipher Language" (5:41)
Gauss - "Aperture"
XDB - "Satimak"
Leonid - "Woodwalk"
Life Recorder - "True Moments"
Review: The Verdant stamp of quality is well established by now, but it presses even deeper with the release of this high-grade compilation from a rich cast of subterranean seafarers. Steve O'Sullivan dons his Bluetrain cape for the slow-chugging, appropriately dubbed out meditation of "Sleeping With The Enemy", while Domenic Cappello creates a swooning string-drenched masterpiece out of "Not A Festival Track". Stojche's "Decipher Language" is a snappier affair, while XDB crafts one of his sublime, leftfield techno variations brimming with imagination to match its functionality. At every turn this is a compilation of top-drawer techno crafter with passion and originality - grip it while you can!
Review: As Until My Heart Stops turns 10, we head back across the Atlantic , this time to Boston and a stunning ep from the still hugely under rated DeViere.DeViere is a music producer and radio disc jockey (Progressive Black, 90.3 FM WZBC Newton) based in Boston, Massachusetts. He first came to our attention with the Transcendental Numbers ep on Jamal Moss' Mathematics label in 2012 and we've waited on each release ever since, including last year's huge Future Shock Disco ep (a collaboration with Jamal himself). Here DeViere presents 3 beautiful examples of his deep, soulful craft and a fitting way for UMHS to hit double figures.
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: Just under two years after launching in a blaze of modular noise and out-there electronics, Athens-based label Pi Electronics has decided to set up a new offshoot, PEVA, to handle the organisation's first compilation, Variable. They say the idea is to bring together unheard tracks from label artists old and new, with additional contributions from lesser-known local artists and higher profile guest stars. The nine tracks are, by and large, forthright and intense, with highlights including the clanking, acid-flecked industrial techno of JK Flesh's "Chelmsley Wood", the buzz-saw guitars and motorik machine drums of 3.14's "GBNR17", the extreme techno filth of "Spinner" by DAS and the fuzzy, razor-sharp electro heaviness of Damcase's "INKL Rules".
Review: Peter Horrevorts once again kicks over the dancefloor as sound-vaporizer. He delivers with "Vaporize" a stunning two tracker of a timeless electronic masterpiece. "Vaporize Part 1" comes with a forward rolling bassline and a really big portion of lightness whereas "Vaporize Part 2" sounds more deep, with mysterious and moody elements, but also always warm-hearted.
Review: Braiden's material has been slow to come out since he first landed with a bang on Doldrums back in 2010. A turn on Rush Hour confirmed his status as a producer in command of the chops necessary to get a dancefloor shaking, but this year's X Years In London OST cassette was a chance for him to expand into more experimental pastures. Not so on this new 12" for his Off Out label, which finds Braiden turning up the heat with some fiercely modern tech house workouts. "V.O.L.A.T" has the same kind of dangerous earworm armour that made Paul Woolford's "Erotic Discourse" so potent all those years ago. "Hydroplane" meanwhile takes some of the crisp but playful tropes of Pearson Sound et al and straps them to a thrumming motorik beat.
Review: First volume of house tracks picked from the Velocet catalogue, Nail's previous label, which he ran very badly between 1995 and 1997. Most of the unsold, OG copies now lay in his ex-wife's cellar, covered in mushrooms.
300 on clear vinyl, no repress.
Review: To date Ion Dumitrescu's Utopus project has only appeared on compilations, but now it scores the space in which to roam free across a whole EP that shines a light on this most promising of Romanian talents. P-Balans is the perfect place to house such wares, carrying the country's minimal love affair into intriguing new creative realms that deal in broken beat, electro and more outwardly experimental fare. "Southology" is a particularly fractured jam peppered with playful synths and tumbling drums, while "The Vision" takes on a shamanic techno stance. If you're craving propulsive tracks loaded with personality then hit up Utopus and you won't be disappointed.
Review: The shady, provocative artist who goes by the name of 99Letters is back with a selection of mesmerising techno-not-techno tracks for the young and audacious Dalmata Daniel label. As with the rest of this producer's music, these jittery, improvisational outsider tunes have got the sound of the cassette hiss very much at the forefront of the mix, and you can almost hear the cogs of those reel-to-reels turning gloriously. "Neo Life" is a pallid, dreamy stratosphere of beats and pads, but the lead tune "Untold Future" is where we really begin to hear 99Letters' style, that dubby, hazy kind of techno that travels on the borders of dance music and electronica. "Cooper" is similarly washed-out, except that here the beat arrangement has got more in common with electro than tech, while "Neo Life (TRP dub)" is a solid, acid-ridden squelcher with a magnificent layer of distortion and analogue funk.
Review: SH2000, a mystery artist whose been busy keeping himself under the radar, returns to Volking Music with another EP (check the guy's Ethereal Sound release for a true lesson in deepness!) and it's two tracks of utter symphonic beauty. "Track 1" releases a steady, driving kick beneath airy, delayed sonics and dreamy melodies, while on the flip, "Track 2" heads into total abstraction thanks to a starry landscape of atmospherics gliding left, right and centre without the help of any beat or bassline. Breathtaking excursions into the ether.
Review: The Berlin based, Australian producer Patrick Carrera is up next on Los Angeles based Modularz. The Paranoid Dancer and MUUI boss follows up some great releases on Mark Broom's Beardy Man on the Unscripted EP. He begins with a brazen tribute to the raw minimalism of early Regis (circa Gymnastics) on "Cortex Shedding" while the remainder of the EP conforms to label boss Developer's modus operandi. From the tunnelling warehouse energy of "Cyclic Shadows" or the classic dystopian futurism of "Pineal Discord" which nails that classic Jeff Mills style of old - complete with hypnotic chime melodies and intricate rhythmic arrangements.
Review: It's been a while since something new from Dave Ellesmere surfaced, but the multifaceted artist has been tasked by the ever on-point Brothers' Vibe to lay down a few serious slabs of club tackle for Mixx Records. "Caught In A Moment" heads straight into tripped out techno territory, all urgent cyclical rhythm and head-teasing FX, but the mood is drastically different on the chord led 909 thumper "Universal Vibe". "From Now On Only Good Things Will Happen" once again channels the edgy Robert Hood style to great effect before Brothers' Vibe takes over for a deliciously dusty, meandering remix of "Universal Vibe".
Review: The curiously named Dog In The Night Records makes quite a splash with this impressive first EP, with IFM member Fran Mela stepping out under the new Robert Crash alias. The five tracks that make up this record come from the straight to tape school of analogue production, revelling in their lopsided rhythms and muddy textures. The A-side offers an alternative journey through famous London nightspots; "Candem Town" combines inebriated synth lines with a strung out vocal to an effect similar to that seen on Ron Morelli's recent Hospital excursions, while "Brike Lane" offers a sinister combination of deep chords and lurching bass among its scratchy percussion. The high pitched, rubbery techno of "Vertigo" and "Toys Slip" recall the wiry productions of Greg Beato while "Let Disco" staggers around like a drunken Funkineven jam. An impressive debut from a producer to watch.
Review: Championed by Richie Hawtin & Ricardo Villalobos (featured on his Cocoon mix CD 'Taka Taka') the A-Side is armed with a highly infectious melody, beefed up with big, bouncy funky bassline. The B-side has trippy hypnotic sounds that echo in & out of the fluid melodies.
Review: Following up 2016's Kyoto EP on ESP Institute, here is the return of Cleveland. Interestingly enough he's not from the midwest USA but in-fact from Luxembourg (with Italian roots) and based in Brussels. His music isn't nearly as confusing though; on the contrary "Tusk" simply sounds like 'oriental electro' (if we've heard such a thing) even more than Japanese Telecom would. B side cut "Aku" equally borrows from Detroit bass aesthetics, yet crosses over into minimal techno - albeit unintentionally we assume - grooving much like current sounds of the Berlin underground as heard on labels like Time Passages or Libertine. A.E. Mancini has released previously on other fine imprints such as Hivern Discs and Oskar Offermann's White.
Review: We like it when labels carry on that whole mystery, hand-stamped kinda vibe because it does, in fact, add even more charm and personality to a genre with should ideally remain faceless and allow the machines to speak for themselves. This is the Trimurti label's third release to date, and NT is the enigmatic artist behind these three powerful house-techno hybrids. "Vishnou 1.3" is a bass-heavy, dubbed-out house slinger with a deep, wholesome analogue feel, while "Vishnou 2.3" adds a few breakbeats and a bit of an electro charm to its stutter, and "Vishnou 3.3" flaps a glitchy set of percussion all over a sparse and desolate landscape of melodies. This is a tidy little three-tracker that shouldn't go unnoticed, and we recommend you to pick one up fast because it's likely to fly on out of here pretty damn fast!
Review: FXHE has been brimming with activity in recent times, with a steadfast flurry of singles refusing to let the quality drop, and now the big bossman delivers another two slices of finely cured business in his inimitable style. The lead track is an arresting piece with just a kick to drive proceedings, leaving ample room for a haunting array of bleeps and a 'speak & spell' vocal until the track slowly ramps up with some more prominent drum programming. "Mayall II" on the flip is a less tense affair, with a cheery string refrain and old school jack-in-the-box beats disseminated in a plain and simple fashion.
Review: Richard Fearless returns with Death In Vegas' sixth album 'Transmission'. Collaborating with artist and writer Sasha Grey, the project is a killer combination of Grey's lyrics with Fearless' signature sound, honed in his Metal Box studio. Said to have bonded over a shared love of Chris & Cosey and Throbbing Gristle, the duo really find their comfort zone on this LP. Alongside lead single 'You Disco I Freak', we particularly enjoyed the very Songs Of Love & Lust sounding "Consequences Of Love", the dark and tunnelling minimal techno of "Flak" and sexy EBM pulsations of "Sequential Analog Memory" .
Review: Antonio Marini aka Healing Force Project is back with the Tranhumanism EP on Ambiwa. Starting out with the ever mysterious "Methodical Ear", it's more of the same later on "Sinapsi Sonora" which like the previously mentioned track sounds like the dusty and emotive deepness of early Sound Signature via the tough and rusty swing of fellow Italians Relative; a nice touch indeed. He then gives us the brooding and hypnotic "Shadow Manipulation Of The Mind" awash in delay drenched organs and skeletal vintage drum machine flair. But the fierce yet restrained functionalism of "State Of Induced Hibernation" with its near tribal moments supported by a series of exotic and mindbending drones is pure bliss. We'll say it again: Marini is undoubtedly one of the most underrated producers in techno at the moment!
Trans (Underground Resistance Hamtramck remix) (8:14)
Review: In its original form, "Trans" was one of the dancefloor highlights of Matt Edwards' second album as Radio Slave, 2017's Feel The Same. Here, the dark and stylish original - think alien new wave synth-pop from 1983 re-imagined as a Panoramabar-friendly workout - is given a makeover by two titans of the electronic music scene: Innervisions overlord Dixon and Detroit techno stalwarts Underground Resistance. Naturally, Dixon's rub is weightier and more obviously big room-friendly than Edwards album cut, with the foreboding original synth bassline and bubbly electronic flourishes being joined by weightier drum hits and bold new melodic motifs which fire "Trans" towards the stratosphere. In contrast, Underground Resistance's revision is fuzzier, wonkier and more hypnotic, albeit with a little disco surprise here and there.
Review: We had to double check that this was indeed the first time the mighty Luke Eargoggle had graced Jan Svensson's Borft label, such is their shared DIY ethos and heritage within Scandinavian electronics. But here we are with Train To Illusion, the Borft debut for Luke Eargoggle and a wonderful four track foray into the classic electro sound the Swede has become renowned for. "Deep Sea Reminder" is a delight that could easily snap on for a lot longer than its eight minute reminder, but the record doesn't stay on this hopeful note throughout. Indeed there is a ruff and ruggedness to "Optical Illusion" which will probably appeal to the Helena Hauff's of the world, whilst "Frau Bowie" could easily be mistaken for a Panzerkreuz b side.
Review: BOOM! Our favourites, Cititrax, roll the third editions of Tracks out onto our shelves, and the results are unsurprisingly strong on this excellent various artists comp. It's a mixed bag of skills, as per usual, and the sounds are those of a new NYC, fuelled by a new sort of post-industrial sensibility. Amato Y Mariana open with the tight beats and groove of "Queires Bailar", followed closely by the ominous compositions of the EBM-flavoured "Montgat" from The Sixteen Steps. On the flip, His Dirty Secrets bleeps out some morphed acid on "Structures", and "Another Stranger" from Further Reductions churns out a slow, mild-mannered house experiment with its roots clearly planted in the coldest of waves. Sick.
Review: It's not all minimal techno in Romania, as the P-Balans crew ably demonstrate on this second release from local hero The Holy Fix. The synths come down thick and gloopy on "The Void" before "Slagwise" ramps up the horror tones with a perfect distillation of what makes a soundtrack pop off. This is nightmarish disco music in the vein of Maiovvi and the like, and it's delivered impeccably. There is a greater focus on club tones amongst the atmospheric FX on Tracks & Traps though, with "Quite Vicious" in particular conjuring up a thrilling, madcap romp through buffed up disco techno.
Review: REPRESS ALERT: Uruguay's finest house and techno export Z@p continues his welcome return to active service in the freakier end of the scene with this spot on Cartulis Music. "Tracid" has a clue in its title, and it doesn't take long to detect the brazen 303 baiting taking place through the core of this peppy workout. It's an effective weapon used in just the right way that should get bodies wriggling with approval. "That Break" meanwhile diverts into a kind of braindance territory with the titular drums matched with more wobbly synth leads and spooked out pads, and then "Acid Rhytms" rounds the EP off with a more reflective cut for calmer moments in the dance.
Review: Out of thin air, the mysterious Tokyo Ghost debuts with a killer four-tracker on his own, newly found label, and the vibe is very much on the looser, more organic end of the spectrum. "Tokyo Ghost" is re-treated and re-manipulated four times, across two sides of vinyl, and it's very much clear that this is a dubwise affair from start to finish. Airy swarms of ambience fill the spaces left open by the jittery, off-kilter percussion that swerves to the rhythm. This is the techno we like to hear. Full-bodied, filled with organic textures, and utterly ready to cause havoc on the dancefloor.
Review: One for the dub techno purists here, courtesy of the enigmatic 7685REC. Run by Markku Eriksson and Cazuma Mori out of Sweden, they're into their fourth installment here and retain the level of quality we've become used to from the Gothenburg based duo. The warm and cavernous cyclicality on the A side will hypnotise you in all its compressed and saturated aesthetic, bleeding through with adequate tape hiss in the vein of classic Basic Channel. On the flip, a more reduced expression in bass heavy minimalism follows, heavy on time-based effects and perfect for stoned and introverted armchair excursions.
Review: strictly strictly is a label by Berlin based producer Rwin. His next thrasher comes from the mysterious DNAbyDNA (Heteroerotic Asphyxiation/Oiwa) who serves up some electrifying breakbeat techno (influenced by early '90s rave) on the hyperaware "The//Grind" or the frantic strobe-lit acid of "Don't Move"on the B side. We personally enjoyed the restrained fury of "Haifa" most of all. The electro-bass killer had us reminiscing on the glory days of the Miami scene when legends like Dynamix II and Exzakt were in their prime.
Review: Teste are back, but not without reminding us why they are so revered. Their track "The Wipe, originally released in 1992, is often credited as a forbearer to a style of techno described as bassline driven, and a style long championed by Munich label Prologue. So before Teste release any new music, Edit Select has extended their famous cut so the wormhole experience of "The Wipe" can last all the more longer. The real treat though is "Ascender", a brand new production between Teste and Edit Select which is similar to "The Wipe" only it swaps foreboding sounds for something lighter and the results are transcendental.
Review: With Jealous God, Eerie and L.I.E.S on his C.V. they don't come much more approved that Domenico Crisci, but few would be prepared for the onslaught that leaps out of this first release on Summa Cum Laude. "The Violinist" champions distortion as a weapon, running everything through a fuzz pedal in a most unrelenting of fashions. It's certainly not for the feint-hearted, and all the more powerful with it. Meanwhile "Return" would sound brutal in any other context were it not for what came before, all slamming, grubby drums and the noises that splay off them. "Blacklord" them manages to push the vibe further back into the red with a searing throwdown to finish the EP off in a masterful display of intensity.
Review: After years spent slowly building his reputation, 2016 has seen Monoloc - AKA Frankfurt producer Sascha Borchardt - hit the big time. This sophomore album - his first for four years - follows hot on the heels of well-received EPs on Soma and Hotflush. It's an undeniably atmospheric affair, with Borchardt smoothly moving between dark and evocative ambience, macabre techno, moody electronica, foreboding experiments, and creepy, post-dubstep bass explorations. While the overriding mood is naturally ghostly and occasionally intense, he finds time for moments of picturesque clarity, not least the wonderful, string-drenched IDM of "Gently Falls" and melancholic fluidity of closer "Ground Disorder".
Review: Mystery artist This Other Space first popped up on Tasteful Nudes earlier this year with malicious little house EP named Eye Of The Cosmic, and the enigmatic artist is back on the Argot sub-label with another blend of dreamy house music. "Eye Of The Cosmic" is all about the sci-fi low-end, a bass tone that would make the Chicago boys proud, while the flipside sees the stuttering drum rolls of "Pop Yard" mash up with an '80s kind of vibe, and the tribal wails of "Friend Unfriend", a house tune that contains something distinctly British about it. Check 'em!