Review: Robert Crash's new TC White alias offers an ulterior shade of raw here, made possible by Swiss newbie label Moto. This is proper bangin' material from start to finish, kicked off with the liquid-like patterns of "Cow", a grungy house banger masterminded by heavy folds of mutant bass and crusty drums; "Muffin" splits the tempo down to a magnificently awkward broken beat with a deep, off-kilter sensibility. On the flip, "Cool" travels under a much murkier, more swamped sort of disguise, while "Cheese" is barely able to contain its inebriated groove from melting apart amid distorted tape hiss and loose instrumentation, which leaves "Mountain" to provide a little disco comfort to this mighty fine, utterly loopy EP of true-school house music.
Review: Yaleesa Hall returns to his Will & Ink imprint with some fascinating techno derivatives on the Hayley Laura EP, although these are much more straight ahead than his usual stripped down experiments - best heard on his 2016 debut album. Beginning with the electro-bass assault of "Zoe Price" bringing that UK style sound popularised by Carl Finlow or Radioactive Man in true style. "Hayley Roach" with its splintered beats and and tunnelling sequences are reminiscent of Regis' output in the late '90s, while "Laura Pomeroy" being the the most atmospheric cut on offer here - going down a more lush and hypnotic route. This is the first solo output from the Amsterdam based producer on the label.
Review: Rather unexpectedly, the third CVX release, to date, comes through on Berceuse Heroique, an imprint which seems to be following and replicating just about any genre or sub-culture form the past, making it a perfect example of post-post-modernism in action. Zibaldone III of CVX, a serious previously restricted to the Laura Lies In label, is undoubtedly a wild and wicked concoction of nebulous sonics that are all driven by a toxic, merciless percussion which spews from all angles with a certain mechanical fashion. It's an honourable third edition of the series, and we hope this marks a beginning of a new dawn for CVX. Wicked style.
Review: Modular techno maestro and Freerotation big cheese Steevio is on fine form on "Zephyr", his first EP of 2019. He kicks things off with "Brawd", where undulating electronic motifs and faintly foreboding snatches of melody wind their way around a rolling techno groove, before offering up a swinging, off-kilter take on tropical techno rich in darting minor key melodies and jazzy sub-bass. Turn to the flip and you'll encounter two more chunks of modular dancefloor hypnotism: the slowly shifting, head-in-the-clouds throb of "Cysuron" and the melodious but off-kilter tech-jazz flex of hard-to-pigeonhole EP highlight "Rhyddid".
Review: Mohammad Reza Mortazavi is the perfect companion to Burnt Friedman's steely, minimalistic shades of broken dub techno. The Iranian percussionist comes as a surprise addition to the Nonplace catalogue, but he certainly makes for an even more cerebral drumming experience than the already off-kilter world of Friedman's tunes. Both the A-side's mixes of "Yek" are just on the right side of dark, combining Eastern influences together with colder, more industrial executions from the West. On the B-side, we have a similarly frenetic experience, where metallic drums collide with deep baselines and polyrhythmic flows spanning the full circle. Well, this might just be our favourite Nonplace yet!
Review: Despite the pastoral, park-based imagery utilized on the sleeve, Denis Morin's Working K is hardly a paragon of gentle beauty. While the main mix does make use of some picturesque elements - twinkling pianos, cascading guitar lines and birdsong - these have been heavily effected with delay and reverb, and tumble down over a restless kick drum pattern and wild electronics. The trippy Work It Out Mix begins as a field recording-heavy ambient house number, before morphing into a chunk of quirky, tropical-fired oddness midway through. Elsewhere, Krikor turns it into a lo-fi EBM throbber, while the EB Forgotten Sounds Mix teases maximum beauty from Morin's original sounds whilst ensuring a steady dancefloor pulse.
Review: Earlier in the year, modern minimal wave and coldwave hero Marie Davidson signed a high-profile deal with Ninja Tune. Here, she makes good on that contract, following a couple of killer singles with what could be her strongest album to date. After setting the tone with clandestine, tongue-in-cheek opener "Your Biggest Fan" - a creepy spoken word cut taking aim at stalker-line fans to the accompaniment of heavy analogue synth bass and creepy computer bleeps - Davidson giddily flits between elastic dancefloor workouts (the brilliantly sleazy "Work It" and mind-altering "Workaholic Paranoid Bitch"), attractive post-EBM instrumentals (the psychedelic and fizzing "Lara"), meditative ambient melodiousness ("Day Dreaming"), bizarre experimental weirdness (the suitable dystopian "The Tunnel"), and stylish analogue pop (the whispered vocals and off-kilter early morning funk of "So Right").
Review: A new aDepth audio record featuring Canadian Rennie Foster, including a remix of Nomadico (DJ Dex/Underground Resistance).
The title track Witch Hazel is a 9 minute long track with no breakdown and a minimal approach to arrangement, with organic elements cycling in and out subtly rather than obviously beginning and ending. A rolling half time, tribal groove drives the power of the track with a haunting vocal sample and layers of percussion creating a heady, polyrhythmic hypnosis on the dance floor. Not since Rennie's well known Devil's Water has he presented such an overtly occult offering as this extremely finely crafted EP, and this song represents the initial seduction of the record to the listener very effectively.
The second track, Navigator, is a drum machine driven workout, again with a polyrhythmic and tribal vibe, this time drenched in a rich, holographic pad that morphs and moves in unexpected ways. Minimalistic in presentation, this track is bass heavy and functional for the DJ, yet artistic and emotional.
The Nomadico remix by DJ Dex of Underground Resistance takes the elements of Witch Hazel and re-constructs them in a futuristic style with a more driving kick and molten Detroit attitude. A heavier techno approach to the piece, but still intact is the melancholic atmosphere of the original and siren song of the vocal sample. This mix includes a dramatic breakdown and unique arrangement familiar to fans of Nomadico's awesome Yaxteq label.
The last track on the EP is called Crossing The Boundary is possibly the only track in this style to sample distorted vocals usually associated with black metal, making this a very unique, perhaps polarizing, experiment in sound. Evocative of the desolation of deep space and suggestive of sonic dark matter. This track combines Rennie's singular approach to dub techno with ambient and drone music and the result is like nothing else currently in existence.
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.