Review: This release comes from a misterious guy with two untitled tracks on the a-side that have the intention to open the project and marking guidelines and sounds that you will hear on the whole series. On the b-side you find the remix of the track "Untitled 02" by the swedish artist Rivet and the "Secret Rave Mix" of "Rhythm Sticks" by G-23, originally released on London based label No Logo, done by the same author of the two originals.
The graphic of SECRET RAVE 01 is composed with a photo by Molly Macindoe. Heavily influenced by her father, a world traveller and architect, and her mother, a university lecturer and author, she developed a love for international travel and visited many faraway places - documenting the many diverse cultures she encountered. However, her attention was always drawn back to the free party community and, since 1997, she has participated in and documented the underground scene. Also she has already released a book called "Out Of Order" that is the culmination of ten years of work and a photographic celebration of the free party scene. Only 300 pressed....
Review: Central Processing Unit chief CP Smith is keeping tight-lipped about the identity of the shadowy producer(s) behind the Secret State project. Smith describes this debut EP as "an attempt to rise above the all-pervasive, vacuous, decaying culture." We'll let you judge whether the men or women of mystery have succeeded in that aim, but we certainly think it's a fine EP. By CPU standards, it's a rather eclectic affair, flitting between druggy, arpeggio-driven alien funk ("CIA UFO Google Search"), ghetto-tech influenced deep electro (the wonderful "De-Pattern"), sparkling dacenfloor electro positivity ("The Sleep Room") and glistening, bass-heavy techno/proto-house/deep house fusion (sublime closer "Weep For Joy").
Review: Tyrell Williams and Bryan Balli form Secret Studio, a techno and acid house outfit releasing only on wax. Breath is the third and latest release on their own SS Records, and the track itself is a moody acid stomper with plenty of background atmospherics and one lean, mean percussive machine. Flip the wax and you got "Yeah", a more head-nodding approach to their 303 debauchery this time, but one that nonetheless get their point across: slamming beats, stripped grooves and a whole load of acid. Dig it.
Review: Gilles Smith and James Priestley seem to be devoting far more of their time to music production. This excellent outing on Mule Musiq is their second single of 2018 following a solid debut on Phonica Records earlier in the year. In its' A-side "House Pass" form, "Cyber" is a deliciously saucer-eyed and loved-up affair where dizzyingly positive synthesizer motifs wrap themselves around a chunky bassline and bouncy, No Smoke style drums. Over on side B, Smith and Priestley offer up two alternative interpretations: the trippy, techno-tinged early morning psychedelic hypnotism of the "Cosmic Slide" version, and the beat-less bliss of the "Ambient Sax Version", which further explores the track's Italian dream house influences.
Review: For their latest must-check release, outsider club music specialists Basic Moves welcome debutant The Sect3000, a Swiss producer who originally recorded the material showcased here for his own private amusement way back in the mid 1990s. It's great that we finally get to hear them, though, because both tracks are superb. "Blaupause", an organ and acid-fired chunk of techno futurism closer in tone and style to Detroit is undeniably emotion-rich, while flipside "Plastic Dream" offers a trippy, deep space romp through pitched-up, Motor City style electro reminiscent of both Aux88 and Drexciya.
TCMF - "We Are The Almost People" (with Isti F) (4:07)
Review: Selway's Serotonin repletes itself once again with vital electro jams that tap deep into the b-boy, machine funk foundations while glaring into a bleak future. Angular and iced-out through and through, the label takes the lead with a raw acid attack before inviting longstanding German sculptor Alex Cortex for more visceral neck-snap beat fun. Deeper again Selway and Jason Szostek Synapse project where a looser roll in the groove gives more of a Detroitian sensation. Meanwhile for the parting gesture, the mysterious TCMF get their glitch on with more of an acid house / breaks flavoured take on the classic sound. Welcome to the future.
Review: Richard Sen's last outing on [Emotional] Especial - the bleep revival brilliance of "Songs of Pressure" - was something of a stone cold killer, so hopes are naturally high for this belated follow-up. The title track again digs deep for inspiration, doffing a cap to the starry futurism of Detroit, psychedelic acid and the drum-machine driven jack of early Chicago house. The flipside Dub of the same track takes it into uncharted territory, with hazy, drawn-out chords and post-production effects only serving to emphasize the heavy nature of Sen's vintage groove. Bonus "Shoc Horracore" explores similar territory, while offering a knowing wink towards obscure 1980s horror movie soundtracks and the bold synthesizer lines of Italo-disco.
Review: ??Introducing Paris-based contemporary sculptor and music maker Erwan Sene joining the exponential Unknown Precept roster. Gathering pieces thought of as little narratives for his debut release, not without a bit French irony around the concept of work, 'I Heard You Laughing' wavers towards mechanical repetition and something more outdated at times. Purposely slowing down the tempo to fit the apparent redundancy of an industrial environment and its steadily running engines. An eroded atmosphere of sorts, analogous to the smokestacks emanating from factory chimneys. Accentuating the ambiguity of a wild thought which is hard to grasp. Despite its machine-driven aspect, Sene primary questions the difficulty to manage one's life stuck in a primitive mindset, making intuitive associations in a grid pattern. Carbon copy music for the tangled minds out there, leaving room for nothing but sedated feelings.
Review: DJ Deep and Roman Poncet launched their Sergei Rezza project some three years ago with a widely lauded album, and now they're back with their own label and a chance to fully explore the boundaries of their combined sound. The record starts off gently with the introspective, ambient lilt of "Cale" before wriggling into a knotted groove on "Treehouse" that places intricate rhythm programming at the forefront of the mix. "Monte" has a more forthright pulse at its core, but there's still space for some pattering percussion, and "Decale" shrugs off the drums to explore guitar licks with an almost Balearic finish to them.
Review: It would be fair to say that Series-A's Evolution Technology is something of a long-lost electro classic. Written and produced by Detroit friends DJ Maestro and Kid Fresh in 1987, 50 promo copies of the record were pressed before the label they'd signed to, California's Satellite Records, went bankrupt. This was always a shame, as "Evolution Technology" is something of a killer: a spellbinding chunk of futurist electro that updated the Cybotron blueprint for the emerging Motor City techno generation. As well as the original 7" and Dub versions, this first "proper" release also features a brand new rework from Tad Mullinix (under the JTC pseudonym), which appropriately re-casts the track as a spacey Detroit techno shuffler.