Review: Former Mock & Toof man Duncan Stump's Coral D project is a study in sunrise-ready retro-futurism, with his two previous singles under the alias combining warm analogue electronics with new age synthesizer riffs, sci-fi drum machine grooves and unwavering glassy-eyed positivity. While some of the turn-of-the-90s charm can be found on this EP for Klasse Wrecks, it's a slightly more psychedelic and otherworldly affair. Our pick is "Sways", where a nagging acid motif bubbles away alongside marimba style synthesizer melodies and a vintage post-jack U.S deep house groove. "Fall Away" is even more druggy and intoxicating, with gravelly spoken word samples and exotic melodies riding a chunky groove, while closing cut "Nibiri" is sweet, dubbed out and pleasingly hazy.
Review: REPRESS ALERT: It's been a while since we saw a decent reissue of material relating to Psychick Warriors Of Gaia, and no doubt there's plenty of great material to mine out there. Thankfully Platform 23 are on hand and turning their attention to Robbert Heynen's work as Exquisite Corpse, which peaked in the early to mid-'90s. Drawing on a range of EPs from that time, Between Rhythms I is loaded with heady, psychedelic fare hovering in a liminal zone between primal techno, proto trance and something more mystical altogether. "Inner Rhythm (Higher World Mix)" is a prime candidate for wigged-out dance moves and eyes-closed reveries, while "Kupuri" takes things slower and deeper. "X-Out" is a minimalist, rugged, acid-flecked beast, and "Sitting In A Tree (Time Flies)" presents the kind of off-kilter techno you might expect to hear from Terrence Dixon.
Review: Bulgarian house wizard KINK is back and, of course, he's all about delivering the shadiest forms of dance floor music humanely possible. The man is a master at twisting and pushing house music to its very limits, something which is obvious from the start of "Soda Caustic", a nutty 4/4 banger boasting a curious new strain of acid at its core. "Synesthesia" barely even forms a groove out of its solitary bleeps and bass buds, whereas "Daddy Acid" takes a little poke at AFX's improbable mishmash of Goa trance and gabber junglism - we love this one. The B-side boasts "The Roots Of Techno", a kinetic array of machine noise and robotic beats, while "Antitune" makes some of Photek's early work seem antiquated by comparison. This EP has it all. Warmly recommended.
Review: We like it when labels carry on that whole mystery, hand-stamped kinda vibe because it does, in fact, add even more charm and personality to a genre with should ideally remain faceless and allow the machines to speak for themselves. This is the Trimurti label's third release to date, and NT is the enigmatic artist behind these three powerful house-techno hybrids. "Vishnou 1.3" is a bass-heavy, dubbed-out house slinger with a deep, wholesome analogue feel, while "Vishnou 2.3" adds a few breakbeats and a bit of an electro charm to its stutter, and "Vishnou 3.3" flaps a glitchy set of percussion all over a sparse and desolate landscape of melodies. This is a tidy little three-tracker that shouldn't go unnoticed, and we recommend you to pick one up fast because it's likely to fly on out of here pretty damn fast!
Review: Announcing the 25 year anniversary vinyl only edition of the legendary Mihon. It apparently all happened back in Frankfurt, 1992 when Uwe Schmidt aka Atom Heart teamed up with other local legends such as Ata Macias (Robert Johnson) and Heiko MSO (aka Heiko Schafer of Playhouse) and local hard techno purveyor W.J. Henze as Ongaku to produce one of techno's holy grails. Especially "Mihon 3" which is known by many as one the best acid tracks that was ever produced.