Review: Brawther's Negentropy label has already carried gold star material from Ron Obvious and the man himself, and now it's the turn of debutant producer Zweizig to show off his wares. This assured 12" leads in with the ambient intro "Gewissen" before the crisp minimal funk of "Rhythm Tension" kicks in with its shimmering and shuddering sound design pinging around the dexterous beat. "Zephyr" is a smoky affair with a snappy broken beat and lots of subtle organic matter writhing in the middle distance. "Rehash Repeat" takes things deep and dubby to complete the set, all mellow hiccupping rhythm accents and hazy melodic phrases.
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: The Zenker Brothers and their Ilian Tape venture get stronger by the minute, and here Marco flies solo with this latest EP, sounding in utterly rude health with it. "Geezin" is a distinctive opener, ditching standard 4/4 propulsion in favour of an airy drum machine arrangement infected with the slightest flurries of hardcore breaks and offset by wistful synth patterns. It's a curious combination that works magnificently, but for those wanting something a little more direct "Splifer" is on hand to deliver a more classically Zenker techno mantra. "Darai" brings the swing back in fine style, throwing down a chunky stomp to match the sizzling hats, and then "Lubiana" wrecks the surroundings with its magnificent pummel of low end percussion and gritty production values.
Review: Having spent the last couple of years concentrating on his collaborative Zenker Brothers project with brother Dario, Marco Zenker has decided the time is right to deliver a new solo 12". Predictably, he hits the mark from the off, successfully blending starburst chords and loose, clattering drum machine rhythms on the tech-jazz influenced "Amb-01". Those looking for a more metronomic, 4/4 club techno roller should check the bounding kick drums and restless hi-hats of "Isolated". B1 cut "First Feeling" sounds like a Motor City techno take on The Orb's 1989 classic "A Huge Ever Growing Pulsating Brain", while closer "Motion" is little less than a sparkling, sunburst tribute to classic, hardcore-era breakbeat techno.
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: Argentina's Andres Zacco has form with Ilian Tape, debuting on the Zenker Brothers-helmed label back in 2011. Zacco is back in the IT fold, but this time it's through the label's X Series, a chapter reserved to more spontaneous white label action. As such, "Thaw" is a sublime mass of percussion riding solo on a soundscape, before being punched into shape by a powerful kick drum, while "Quirt" is more of a stripped-back techno slitherer for DJ tool use. Flip the wax and you'll find the weighty kicks and morphing sonics of "Beighty", alongside Ilian Tape's Rupcy's distorted, big room reinterpretation of "Thaw". All killer, no filler.
Review: Exos' label X/OZ continues to grow as a distinct voice in the world of minimal techno, this time around inviting Russian producer Nikita Zabelin to explore his sound with a sizable EP of finely crafted techno and thought-provoking ambience. "Confusion" is a consummate slice of hypnotic techno crackling with heavily processed energy, while "Pluton" drifts into rich beatless territory. There's more experimental fare afoot with the fractured tumbles of "Curtains", but "Trans Siberian Express" is on hand to lock things back into a sturdy rhythmic framework. Exos also takes the time to remix "Brooklyn Train" into a noirish dub techno workout.
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: 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: 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).