Review: Mancunian legends Graham Massey and Andy Barker reunite for the first 808 State album in 17 years. They recorded the new opus "Transmission Suite" in the Granada studios (where they once performed live on television 30 years ago) and looked to their hometown's club scene as their main source of influence - along with the timeless aesthetic of Detroit which has always influenced their style. Across this collection of "sonic landscapes" (as described by Massey) you'll hear the booming acid electro of first single "Tokyo Tokyo" and "The Ludwig Question", through to off-kilter jams like "Westland", futurist house grooves of "Ujala" and a modern reboot of classic "Angol Argol".
Review: For those that don't know, Ex:El was the third LP by British electronic pioneers 808 State released in 1991. The album features guest vocalists such as New Order's Bernard Sumner on "Spanish Heart' and Bjork on "Qmart" and "Ooops" which would result in the Icelandic singer having a continued working relationship with Graham Massey over the years. Their teaming up with figures of the alternative music scene of the time started a trend that many other electronic music groups would become to follow. Perceived by many to be one of their finest albums, this one will be a welcome edition to any 808 State fans collection on vinyl.
Review: A-Ton is a new label from Berlin heavyweights Ostgut Ton, designed to focus on "ambient, archive and alternative music". They've pulled off something of a coup for this debut release, persuading British techno legend Luke Slater to open up the archives of his '90s intelligent techno project, The 7th Plain. Chronicles I boasts a mixture of previously released and unheard material, which moves from glistening, outer-space ambience (the near perfect "Boundaries", "Grace"), to fizzing Motor City techno ("T-Funk Statues"), via intergalactic intelligent techno, dusty downtempo grooves (the jazzy hip-hop rhythms and ambient electronics of "Slip 7 Sideways"), and melodious IDM.
Review: Surface Records has never pulled any punches as one of the UK's toughest techno labels, and The 65D Mavericks have embodied the same spirit with their charged, lyrically provocative approach. After a lengthy hiatus label and artist are back in action, and sounding as fierce as ever. "False Prophets" is not for the faint hearted - an avalanche of thunderous drums and expletive-laden diatribes. "Cosmic Drift" is marginally more meditative, but still positively unhinged in its execution. "You Lost Your Mind" flails around a muddy, punky swamp of deviant sonic behaviour, and "Immovable (dub)" throws one last curveball into the long grass, stripping out the bark without losing the bite of this proudly individual group of techno marauders.
Review: 4E used to be Khan's apartment number in New York City's East Village back in the late 90's. 4E became the trademark sound for his downbeat acid infused electro work. On his kitchen floor he produced a very unique brand of futuristic funk tracks with only a ROLAND TB-303, SH-101 and the Hip-Hop fundamental SP1200 drum sampler. Besides a couple of 12"s for Force Inc. Music and the "Gentle Killer E.P." on Freddy Fresh's Socket imprint, 4E released the highly acclaimed downbeat electro album "4E4ME4YOU" on German glitch label Mille Plateaux. Back in 1998 4E shared the now legendary 12" with I-F "Space Invaders Are Smoking Grass" on the "From Beyond Series" by Ectomorph's Interdimensional Transmissions. Pills & Thrills" on Temple Traxx is four previously unreleased acid-electro stomper that are as funky and noisy as it can get on an East Village kitchen floor.
Review: One year later, UVB-76's shadowy collective 4 6 2 5 strike again with two more unique startling schematics. Flexing across the tempo axis, "Sedition" leads with a fast 170 twist as hard pneumatic kicks cut through the dense foggy atmospherics before doubling up the momentum and taking unpredictable twists midway. "Crown Of Nails" maintains the hunchback pressure and that heavy foreboding sense synonymous with each member of the collective, but does so at a cool 105BPM pace giving space for each percussive element to ricochet around your purdy little pranged-out soul.
Review: Frustrated Funk, Shopwrec and Central Processing Unit are just some of the quality labels on which the enigmatic 214 has delivered his wayward strains of electro and techno. This new single for Lunar Disko is straight-up, high calibre business, as per usual, starting with the mesmerising pads and alluring soundscapes of "The Breakfast Club", a beat-driven escapade through a wave of majestic synths. "Lunar Landing" is more on the Dutch electro side of things, thanks to its sub-aquatic beats and general demeanour while, on the flip, "Jade" injects some Chicago house live through an industrial filter, and "Hurley" liquifies its synths down to a thick pool of sonics and subtle beats. Gorgeous music.
Review: After three successful EPs for the wider Lobster Theremin unit back in 2015 and 2016, 1800HaighStreet drops an album for the London label, a twelve-track excursion into the shadiest, most deranged forms of house and techno. This is no surprise given the label's rise to fandom and hypedom over the last 3 years, but the producer has still managed to impress thanks to a glorious collection of distorted electronics. Each tune is very much focused on the dancefloor, however, and as such, thr label heads have dedicated no more than 2 tunes per side. Jeff Mills style, innit!? Gloriously hallucinogenic loops and a torrential downpour of harmonies encircle the entirety of this release, making it akin to the sort of no nonsense techno that emanated from the infamous Tresor basement back in the 90s. Hardcore gear. No bullshit.
Review: It's common knowledge now that #.4.26. is Ilian Tape mainman Dario Zenker, who under this alias released a slew of hard hitting DJ tools on cult label Frozen Border - and this is his first new material under the name since five years. From the sheer terror of dynamic opener "Mono Middle", a dystopian electro number saturated in dense lo-fi fuzz, the broken beats continue on the minimal boom and thump of "Whenever Voi". But it's the B side that proclaims no more Mr. Nice Guy here, with the slamming old school energy of "Free Upload" calling to mind the early '90s sound of Djax or Pro-Jex, while "Van Cul" again demonstrates Zenker's fine ability to weave broken beat arrangements into epic, big room techno bangers.