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Review: Al Wootton has always been able to cook up rhythms that are beyond even the wildest dreams of many and now he gets even more weird and esoteric on this fresh 12" on True. The six tracks layer up polyrhythmic hand percussion with sonorous bells and are all brought to life with modular synthesis and deft sound design that takes you deep into a humid jungle where moisture drips from the leaves and psychedelia lurks around every corner. It is both a heady and a heavy trip into worldly and dubby techno rhythms that will leave you feeling keen to hear more from the man.
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Review: On the latest missive from his energy packed Power House imprint, Rene Pawlowitz - he of Shed and Head High fame - has chosen to showcase tracks from two of his lesser-celebrated alter egos, WK7 and Zigg Gonsalezz. As befits the peak-time ready, party-starting nature of the label, A-side 'Wait' offers an addictive blend of bustling, beefed-up house drums, glassy-eyed female vocal samples and sleazy, rave-igniting riffs. Over on the flip we get two distinctive takes on 'Sunday': the classic New Jersey garage meets Nu Groove style deep house warmth of the '3pm' version, and a stomping late night revision (entitled 'Work It') that peppers a chunky, extra-percussive beat with tight electric piano stabs and booming bass.
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Review: A deeply mysterious label from Barcelona, Withhold specialise in impactful trance-breaks and IDM that tend towards the vanguard, prioritising "hidden artists" whose proclivites might not be so self-promoting. This self-effacing, anonymizing tendency in dance music is often indicative of good quality, especially when done for the right reasons. It's not really something you can work out rationally, in fact; you just have to go by your best senses. And we get a good vibe from Withhold, not least from this latest long-player of curious, gushy delights. We're not sure which artists (whether individual or many) lie behind each track, but perhaps this rejection of authorship encourages deeper listening: highlights include the cleverly tricksy 'Achanhuwlmx' and the quaintly-imaged 'Order Of 11'. This album is best received by the listener at its most emotive, most cascading moments.
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Review: US techno legend Josh Wink is back on his esteemed Ovum imprint with another potential anthem for the ages in the form of 'Balls Back', a proper heads-down affair with furiously syncopated rhythms underpinning Wink's signature druggy vocals with acidic motifs. Over on the flip, Italian main room techno engineer Marco Faraone delivers the goods once again with a steely and austere peak time rendition. Also included are some handy tools in the form of an acapella version and a nicely streamlined dub.
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Review: Better-known in the Motor City as DJ Gusto, August Williams makes his bow on Detroit's original techno imprint, Juan Atkins' much-loved Metroplex. He first offers up 'The Hook Up', a relaxed electro workout marked out by hip-hop tempo beats, sparkling synthesiser arpeggio lines and gorgeous electronic melodies, before opting for a more hypnotic, dark, clandestine and minimalistic techno sound on superb machine jam 'Dark T'. Williams successfully blurs the boundaries between late-night deep house and sci-fi techno on 'Pushback', while 'Submission' pairs a vintage Motor City techno style groove with discordant, mind-mangling motifs.
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Review: Damon Wild is back with a new album on the Sonic Groove label run by Adam X. This is his first full length LP since back in 2017 when he dropped Cosmic Path on the Infrastructure New York label. Pleasure Builder is a techno album with a difference as it has rich astral atmospheres and ambient synth adding detail to the physical drums. Wild has been active since the 90s and brings all that class and know how to this record and twitchy future-facing cuts like 'Capture The Moment' and thudding, fizzing numbers like 'The Space Between.'
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Review: White Rose debut on Altered Sense with Prime Frequency, a versatile and vital EP. It distills acid, electro and braindance into powerful tracks with a distinctly UK edge, as well as a nice retro nod and subtle sense of rave nostalgia. The opener is the sort of dark, mysterious tune you want to hear in a warehouse at 5am, and then the late night freakiness builds through the trippy melodies and ice cold beats of 'Champion Sound,' zoned out rhythms of 'Bradford Bass' and post-rave sounds of ''Steel Subsonics.' These are inventive sounds that make a big mark in smart ways.
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Cat: KON 007. Rel: 11 May 21
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Review: An air of mystery surrounds this new While My Sequencer Gently Bleeps project, but what we do know is that they have two superb EPs dropping at the start of 2024. This one, OK, opens with 'Amber' which is a nice undulating and deep cut with lush synth smears. 'Emptiness' hangs synths in the air over more lithe broken beats and 'Felt' is a stripped back rhythm with majestic chords, blurts, bleeps and more all adding colour. 'Hesitation' and 'Burton' round out this sublimely supple and subtle synth record.
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Review: Wheelman started the Glasgow club series Stereotone almost six years ago, which then evolved into a label in 2016. He has since become a staple of the local club scene and released music on Studio Barnhus, Don't Be Afraid and Belters - which furthered his standing in the UK scene and beyond. His latest release is titled Reaching For A Higher Place, which features a selection of emotive cuts: from the dark melancholia of 'Hit' and its factory floor aesthetic, to the low-slung funky disco loops of 'Grey Vision' and the Basic Channel influenced closer 'Train Track' hypnotising you into submission with its cavernous and glacial cyclicality.
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Played by: Ernie (Minuendo Recordings), Tr One, Eamon Harkin, Mister Saturday Night, Glimpse, Ksoul, QUELL (2020Vision/These Days/4Lux), Richard Sen, Rising Sun, Steven Tang (Emphasis Recordings), Wesley Matsell, Arnaud Le Texier, Richard Zepezauer (RZ-1), Jolka, Agnostic Rhythm, Manos Mara (Bliq), Sebastian Mullaert aka minilogue, Anaxander
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Review: The Take It Easy label returns with a red hot one and limited edition one-sided 12" that features a Bugsy 'ReDrum' of Wema's 'Kiherehere' cut. The original artists are a five-piece Tanzanian outfit founded on community and they have a global approach to sound that plays out here. In Bugsy's hands, it becomes a club-ready cut that fuses house and techno with the original's traditional Tanzanian instrumentals and Afro-Latin rhythms. Add in a fiery vocal and the sort of unrelenting drum funk that sends crowds mad and you have another standout from this fledgling label.
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This vinyl is available for pre-order at Juno, for shipping on the release date. You won’t be charged until the order is despatched.
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Review: Takuya Sugimoto AKA Web is an electronic innovator who released a slew of essential albums in the mid-nineties. This new EP - except for a re-issued track that first appeared in 1995 - is a continuation of his fusionist style where he layers up wonky rhythms, detuned synths, IDM, ambient and techno into something new, something spiritual, something utterly fresh. Everything from Herbie Hancock to Larry Heard to Yellow Magic Orchestra can be heard if you listen closely to these rhythmically complex tracks, and you really should, because there are all kinds of magical sonic sorcery to be found.
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