Review: The latest release from "distorted rave and industrial sweat" specialist is something of an epic. It boasts two previously unheard tracks - the pitch-black, red-lined electro/techno intensity of the undeniably creepy "Membresi Ekl", and the all-out, mind-melting dancefloor assault that is "For Varden Pikre" - plus a swathe of remixes. We're particularly enjoying the sparse, industrial-influenced machine funk of Max Durante's rework of "Membresi Ekl", Drvg Cvltvre's psychedelic, acid-driven techno remix of the same track, and Martyn Hare's blistering industrial electro interpretation of "For Varden Pikre". Chris Moss's breakbeat-driven acid-rave version of the latter cut is pretty darn tasty, too.
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: LA-based producer Mor Elian has already scored big releases with her two previous transmissions, landing on Prime Numbers and Hypercolour, as her reputation rises in the field of dynamic deep house music. On this turn for Finale Sessions she lays down some of her strongest work to date, amping up the dubby tendencies on "Orionids" before heading into a propulsive techno dimension on the wonderfully airy "Light Pollution". EP closer "Echo Park" meanwhile fuses a disparate spread of electronic sounds into a mechanical yet strangely inviting construction for adventurous heads to get lost in.
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.
Review: Although the Lovers Rock label run by Daniel Martin McCormick - better known as Ital - has previously been an output for his own music, this year see the label expand operations with records from other artists. Although a future collaborative 12? between Ital and Mutual Dreaming's Aurora Halal has also been promised, the label first looks to the music of Earthen Sea, the musical project of San Francisco artist Jacob Long, who previously performed alongside Martin-McCormick as part of Mi Ami. Although Long played bass as part of Mi Ami, the Earthen Sea project - which has released a number of cassettes since 2003 - sees him utilise various electronic textures to create his own immersive style of ambient music, which takes both a rhythmic and beatless approach incorporating elements of dub techno, drone and minimalist composition.
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: Snap, Crackle & Pop does the business once again as Berlin-based producer Curses steps up with the distinctly 1980s new wave stylings of "Another View". It's the kind of track that will have lovers of early The Cure, Sisters Of Mercy et al dancing in a hazy fever dream where early goth and indie meets with contemporary beats. "Together In The Dark" makes the point even clearer with a brooding trip through languid guitar, beyond the grave vocals and scuffed drums. Inga Mauer takes an entirely different tact with her remix of the latter track, conjuring up a particularly chilling acid daemon to jangle the nerves before The Golden Filter spook out "Another View" with heavy doses of reverb.
Review: KM Editions and Pleasure Unit are proud to anounce the launch of Pleasure Wave. A new imprint to release special projects.Our first release "Tarnished Idol comes from the multi faceted g-Marie a friend of ours for over 20 years. This mini LP was concieved over the first few months of 2015 after various travels around Europe and Asia and then recorded at his home studio in South London.
Review: Fresh from delivering a fine album of experimental electronics for Further Records (the ambient leaning Hyperboreal), Manuel Fogliata pops up Parisian imprint Latency with a pleasingly varied four-tracker. As if to emphasize his techno roots, he begins with something big and heavy - the pulsating rhythm, fluttering deep space electronics and hypnotic dancefloor intensity of "OK Face". Fogliata further proves his techno credentials with the rather brilliant "Morning Loving", a decidedly picturesque chunk of ambient techno that's both danceable, and aesthetically pleasing. Elsewhere, he pauses for a breather via the delay-laden beauty of ambient cut "Aphrobite", and wanders into trippy modular synthesizer territory on the beat-less "M_Animal".
Review: Year Zero" is a first release on Post Scriptum's own label and in a sense it is a manifesto defining it's musical identity. No space here for a sound targeting the current techno mainstream. There is dirt, and the pinch of imperfections, very characteristic of avant-garde electronics and industrial well known for the quite nearby past. On the A side, there are compositions appearing like shutters from experiments conducted in the secret laboratory. The rhythm is giving the appropriate weight, while the rest is a musical conglomerate of sounds and synthesis building up a feeling of anxiety. A swarming energy, a modulation, an uncertainty and lurking somewhere danger are surrounding us.On the flip side are remixes constituting the lighter counterpunch. Motor eurhythmics bringing to life the old good Detroit techno definitely of a dance-floor character, making this material ideal for an interesting set.
Review: One half of the Steven Porter duo, Katsunori Sawa, debuts solo on the Weevil Neighbourhood, a mysterious Berlin label borne out of the equally enigmatic, and now defunct, Weevil Series. Here Sawa delivers four tracks of industrial and experimental sound design, minus the ear shattering sonics and overbearing drone that other producers of a similar creed may employ. Windswept waves of white noise blow across "Augur" while its drums create a syncopated groove like that of injured beetle limping to safety. Piston pumping sound effects and factory ambience soundtrack "Black Sugar", while "Phenomenon" is the EP's most rhythmically coherent production. Sawa then ends on "NGM" which sounds like the night time hustle of New York city night heard from the empty viewing deck of the Empire State Building.
Review: The Bassiani label is the platform for the infamous Georgian club to present its sound to the wider world, and it does so in fantastic fashion with this run of various artist releases. This fourth release kicks off with the dark, textured and brilliantly rendered techno immersion of Cassegrain's "Departure Seven", while Ersatz Olfolks gets a little more heated with the strafing synth work that courses out of "Straight Road". Hector Oaks is also in a rowdy frame of mind with the peak time belter "Move In Circles, Walk On Lines", and it's down to Thomas Hessler to cool things off with the heart-rending electro of "Memories".
Review: As much as we love keeping our ears to the ground, this new release from DJ Sotofett's personal WANIA imprint is leaving us guessing at every turn. The music, of course, is utterly on-point, as per usual, but we know little to nothing in regards to the mysterious Tech-Droppers. Taking much more of an electro spin compared to the imprint's more natural approach around techno, this feels like the right place for Wania to be exploring, and this is especially true if every track sounds as hot as this! The first three cuts on the A-side all offer different infusions of industrial high-tek, kicking off with the synth-driven "Crystal-Tech", followed by the rougher, more bass-centric approach of "Acid-Tech", and then onto the moodier, more broken arrangement of "Crystal-Dub". On the flip, "Tech-Strobe" is all wave and far-out vibes, while "Strobe-Revenge" churns out a beat spun the wrong way, and "Tech-Acid" bleeps its gentle waves of acid alongside Wania's characteristic atmospherics. Killer!
Review: Cong Burn made a mighty splash with its first release, clearly flaunting the kind of wares you'd expect to hear from Livity Sound alumni or other such esteemed techno renegades. The second installment is no slouch either, featuring a new cast of crooked creators offering up their wares for the modern mutant dancefloor. BFTT has a weighty low end thrum powering "Public/Private", while Lack takes things in a scuffed and nimble direction. Chekov pushes out into more experimental pastures with the broken beats and displaced sound design of "Celeste" and Howes creates a wonderful strain of mystical deep house for darkened souls. Each one of these tracks is loaded with flair and personality, yards ahead of your average generic knock offs and presenting something with real merit to the convoluted world of dance music.