Review: Having previously impressed with two suitably atmospheric EPs on Propersound, Zug has decided to launch his own imprint. This label debut is naturally rather delicious, with the producer offering up a quartet of analogue-rich cuts that effortlessly combine the sci-fi sounding futurism of Detroit with the comforting melodiousness of Larry Heard. Such is the quality throughout that picking highlights is tough, though we're particularly enjoying the gentle grooves and alien melodies of "Constancia" and the suitably dubby, intergalactic pulse of EP opener "Alegria". Elsewhere, "Bienestar" combines bleeping melodies, dreamy chords and shuffling, tech-house style beats, while "Celebracion" sees him wrap far-sighted electronics around a bustling, two-step influenced rhythm track.
Review: Noiztank co-founder Zosima has been surprisingly quiet of late, with his last release of note - the suitably intense and dystopian "Apropos Of The Wet Snow" - dropping back in 2017. As the title suggests "Live Cuts I" is made up of fuzzy, lo-fi workouts that were recorded to tape during live shows in Madrid, Berlin and Vienna. All four are suitably atmospheric and spontaneous in feel, in keeping with the producer's sweaty, hardware-driven performances. What you get is full-throttle industrial techno full of head-mangling distorted drums, rhythmic white noise and - on the clandestine "LC3" and paranoid "LC1" - a sliver of wild-eyed melodic intent. Not for the faint hearted, but well worth your attention if you like your grooves raw, ragged and full-throttle.
Review: It's double trouble again from ever reliable Bavarian brethren: Dario and Marco Zenker. The Ilian Tape head honchos seem to look for inspiration from the West Midlands techno scene circa the mid '90s. The splintered, full-throttle machinations of A side cut "Sorting Peanuts" call to mind Force + Form era Surgeon with its stuttered and jarring pace - making equal room for tension and suspense. On the flip, the greyscale factory floor stomp of "Sample Predator" will please fans of the Downwards back catalogue - British Murder Boys and Female in particular.
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: Osaka's Koshiro "YPY" Hino built his reputation on a series of fearlessly experimental cassette releases, before breaking cover to deliver a 12" of frazzled techno on Nous last year. Zurhyrethm marks his long-form vinyl debut, and contains eight suitably experimental tracks stretched across two slabs of wax. While there are clear tropical influences, a humid feel and nods towards the visceral pleasures of ambient, Hino's greatest strength is his eccentric drum programming. Zurhyrethm's dense - but often subtly mixed - percussive backing dominates throughout, with nods to African and South American rhythms, Sweet Exorcist's C.C.CD-era "clonk techno" (look it up), and the metallic clanking of classic industrial music.
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: Somewhat surprisingly, this tasty 12" marks Years Of Denial's first solo release since 2016's "Blood Debts" LP, an intoxicating, otherworldly fusion of industrial, EBM, experimental electronica and mind-bending rhythmic noise. The Italian artist hits the ground running with "Crow", where drowsy, stylized spoken word vocals echo above tight acid flashes, moody bass, doom-laden chords and bustling drum machine beats, before rushing towards throbbing EBM territory on "Body Map". Over on the flipside the Mascara-clad fun continues on the clanking industrial-meets-electro warp of "Love Comes And Goes" and the guitar-laden moodiness of closing cut "Cold Blooded Hands".
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: Under the Yak alias, Steel City producer John Randall has previously plied his wares on Version, 3024 and R&S, offering up distinctively percussive tracks that sit somewhere between techno and bass music. His latest outing - this time for Phonica Records - delivers more hard-to-pigeonhole goodness for discerning dancefloors. Opener "Zip" peppers African style tribal drums and raw Motor City techno bass with the kind of ear-catching bleeps that were once a Steel City staple, before the jumpy and upbeat "Guevenne Groove" wraps positive, glassy-eyed synthesizer motifs around sweaty, loose-limbed live drumming. "Fret" is a spaced out, bass-heavy two-step number laden with intergalactic electronics and undulating bass, while closing cut "Gerudo" brilliantly joins the dots between tribal rhythms and shimmering deep house.
Review: Despite an impressive discography and a well-deserved reputation for crafting high quality techno and electro, Lee Xhin's releases have been few and far between in recent years. In fact, this wonderful four-tracker is the sometime Token, Stroboscopic Artefacts and Semantica artist's first release for two years. It sees him exploring the potential of dancefloor futurism by flitting between melodious, piano-sporting electro/techno fusion (the surprisingly melancholic "Everythingremains"), punchy but spacey peak-time electro ("Vision Electrified"), angular and mind-altering modular experimentation (twisted, beat-free closing cut "Dust") and moody, off-kilter breakbeat techno (electro influenced roller "IKNx2", where strummed shoegaze guitar motifs rise above claustrophobic chords and pummeling drums).
Review: Here's something to cheer fans of classic Chicagoan deep house: a surprise re-press of Boo Williams and Glenn Underground's much-lauded (and surprisingly hard to find) 1995 collaborative EP on Maad. The release has always been coveted by those in the know partly due to its' surprisingly eclectic nature. So, while there are classic, organ-laced, typically bumpy deep house jams (see "Motion Sickness", the vibraphone-laden "Cronic Groove" and deliciously bass-heavy, acid-flecked "Bee W G5"), the duo also used the opportunity to indulge their techno fantasies. The EP's final two tracks, "Lights Out" and "Stopen Niggaz", are both relentlessly tough, with ragged electronics and bombastic, fast-paced rhythms.