Review: Luke Standing aka Blue Hour is clearly a producer with a personal agenda. One which he's adamant about fulfilling. To give you some context, Blue Hour has self-released a dozen EPs since his debut in 2013, and he's showing no signs of stopping, if this new 3-tracker is anything to go by. Keeping in line with his characteristically jagged and angular techno approach, "Beyond The Void" is a hypnotic techno bullet with a cascade of raining synths, followed by the gentler, more melodic approach of the sublime "Shimmer" (Dreamscape)". "Radiance/Limelight", on the B-side, opens the doors to the warehouse rave, or festival, by laying down a rolling groove that is bound to leave its dancers in a state of utter trance. Solid techno works, direct from the source.
Review: Blawan's new side project Bored Young Adults is up next on Will Bankhead's label The Trilogy Tapes. The Shy Dancers On Bungalowdorf Beach features some restrained and slow burning techno experiments that differ from Jamie Robert's more usual hard-hitting sounds. The seething title track treads the same path as Kassem Mosse or Vactrol Park. The Fentanyl techno of "But We Need This Bench" sounds like an old Regis record played on -8, while devoted fans of the young UK producer's sound will get something a bit more familiar on the menacing hypnotic techno grinder "Check Up From The Neck Up".
Review: Rather unexpectedly, the third CVX release, to date, comes through on Berceuse Heroique, an imprint which seems to be following and replicating just about any genre or sub-culture form the past, making it a perfect example of post-post-modernism in action. Zibaldone III of CVX, a serious previously restricted to the Laura Lies In label, is undoubtedly a wild and wicked concoction of nebulous sonics that are all driven by a toxic, merciless percussion which spews from all angles with a certain mechanical fashion. It's an honourable third edition of the series, and we hope this marks a beginning of a new dawn for CVX. Wicked style.
Review: It's amazing to think that Jay Daniel is still only 25. Since making his debut five years ago, the producer has been responsible for some of the finest house music to emerge from Detroit in recent times. Interestingly, he's slightly modified his woozy and gently soul-flecked blueprint on this hotly anticipated debut album. For starters, many of the tracks - standouts "Paradise Valley" and "Knowledge of Selfie" included - feature live drums, played and recorded in his mother's basement. This rhythmic adjustment gives Broken Knowz a far looser and warmer feel than his previous work, in the process elevating his deliciously rich and musical deep house to a whole new level. In other words, it's an impressively assured and entertaining debut album.
Review: Dead Fader jumps from Kimochi Sound over to Tesuji with a rolling, dreamy, euphoric rendition of future electro. Essential, optimistic, forward-thinking. On the other side, Bassiani's HVL flips the beat on its head for more ominous perspective, complete with klaxon acid line and sinewy breakbeats.
Review: Although Clone's series of remastered Drexciya retrospectives are excellent, it's nice that Tresor have decided to reissue the majority of material the Detroit pair released through the Berlin label in its original format. This way you get the music in the manner Donald and Stinson originally intended. The four tracks on Digital Tsunami were drawn from the same recording sessions that resulted in the sublime Drexciyan document Harnessing The Storm and thankfully got pressed on an addendum 12" after not making the cut for the double LP. With Tresor having just reissued Harnessing The Storm it seems only fair Digital Tsunami should be granted the same treatment. Some 13 years after it's original release and all the music here still sounds like it was drawn from the future, with Donald and Stinson excelling at rapid fire bursts of abstract subaquatic electro, such as towering highlight "The Plankton Organisation".
Review: Lakker's Eomac increases his solo profile in 2013 following releases on Killekill and Code Is Law with a quite distinct and appropriately out there 12" for Will Bankhead's seemingly tireless label The Trilogy Tapes. It's not the most obvious of pairings but TTT has never been about taking the obvious route and Hither, Pappy (a play on AFX's Come To Daddy) is at times up there with the label's hairiest releases this year. This is most apparent on the title track that barely keeps to a discernible beat pattern amidst all manner of garbled vocal samples, with McDonnell displaying a rhythmic freneticism that's as impressive as his willingness to veer into full on distortion. Both "Husk" and "Tunnel" remain closer to traditional notions of techno, though the former's restrained droning is somewhat overshadowed by the latter's apparent threats of total sonic meltdown (try playing this one at your Halloween DJ gig and see what happens) After all this, McDonnell then takes a left turn into a moment of fragile, sampled beauty in "I Love You, I Miss You" which is the kind of production a Pitchfork staffer would wet themselves over if it was on Tri-Angle Records.
Review: Despite scouring the Internet for the best part of an afternoon, we've been unable to identify the producer (or producers) behind "Keep Your Mouth Shut 1", an anonymous but quietly impressive four-track EP. While the untitled psychedelic techno shuffler that opens the EP sounds like a peak-time jam in the making, the cut that follows (simply titled "Track 2" here) is an exotic broken techno affair that makes superb use of raw, acid-fired sub-bass and haunting, almost child-like vocal samples. There's more hybrid fun to be found on the flip, where a driving breakbeat cut comes wrapped in shimmering, summery chords ("Track 3"), and a high-octane, acid-fired electro jam threatens to whisk us off to a deep space destination unknown.
Review: American expat in Berlin Lando has been quite the success story. Since moving to the German capital several years ago, he's been a regular fixture on the local circuit, praised for his energetic DJ sets and great releases for the likes of Hotflush and his own Myth Music imprint. Fast forward to 2018, the California native releases his next killer on DVS1's always reliable Mistress with four functional cuts on the Hutch EP. They take their cues from house and techno and somewhere in between. From the emotive title track, the fierce rhythmic jack of "Ceremony" or the deepy hypnotic DJ tool "Tonight We Land" calling to mind the early sounds of Robert Hood's M-Plant.
Review: Matt Cheon & Co. unearth yet more rare gems from old school electro fiends Caroline Herve & Michael Amato here, on the second volume of Lost Trax. As story has it, after the French duo met at a rave in their native Grenoble in the early '90s, they made music heavily influenced by 80s synth, post-punk and Italo disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. From the sexy, four-to-the-floor EBM of "Upstart", the Drexciyan style "Love On" with its aquatic bass assault, or the classic Miss Kittin & The Hacker sound of old on the monochromatic" The Building" featuring the former's trademark deadpan vocal delivery.
Review: Despite having already released a 16 track album this year, Detroit's finest, Omar S, proves that there is quite simply nothing stopping him as he issues the four track Nelson County. "Don't Let Dis Be HapNin! Comes on like the classic "Psychotic Photosynthesis" at witnessed through a haze of smoked glass, while "U Heard What Da Man Said Muthafukka!!" is something much more driving, like taking a spin on Detroit's streets after dark in a souped up Dodge Charger, before "Nelson County" sees the tough house-focused denouement take place in a dingy backstreet club. As always with Omar S, this stuff doesn't mess about....
Review: The second part of Omar S' You For Letting Me Be Myself album in vinyl form sees another 8 tracks across four sides of wax; aside from the '80s inflected sounds of the album's title track, the 303 workout of "Ready My Black Asz" finds itself with the dubbed out loops of "Messier Sixty Eight". As a bonus for those who already have the album, this part contains two vinyl exclusive tracks; the soothing deepness of "She's Sah Hero Nik" and the delayed organ weirdness of "Broken Bamalance Horn" - both more than worth the price of admission alone.
Review: Six brand new shakers from Omar S...This is the sh*t! Never confined to one particular genre, Omar is again blending house, techno and even minimal styles into one big pot of deep Detroit underground funk. There's even some Basic Channel / Deep Chord vibes going on there somewhere. Simply killer.
Hit It Bubba (I Want My Dadda's Rekids!!!!) (5:42)
Party Marty (5:47)
Review: The Detroit badman always delivers the goods, but he'd recently focussed on his more house-centric style thanks to a series of sleek, soulful releases. This time, he's come out all guns blazing with this new four-part killer, led by the absolutely nutty groove that is "Sink Holes" - a proper slice of Omar S acid, delivered in fine style and with his inimitable rawness. "HELL ON EARTH" is a moodier, funkier house tip with a jazzy side, while the flipside's "Hit It Bubba (I Want My Dadda's Rekids!!!!)" is a fast, upbeat house bomb with a crazy little disco sample that floats amid the grainy bass drums. "Party Marty" is a no nonsense kind of lick, pouncing away with a steady, yet unmistakably Omar S-style percussion, and a heavy bass blow. This is one hell of a way to make an appearance this early in the year - highly recommended!!
Review: Regis is the founder of one of techno's most influential and uncompromising labels, Downwards Records. His inimitable hard techno sound, and collaborations with Surgeon as British Murder Boys, have cemented his legacy as the definition of the Birmingham techno. Luke Lund is one of the Finland's fastest rising young composers, with the ability to move seamlessly between the marshes of dark hop to the silkiness of deep techno. His own Terranean Recordings label has been fearlessly documenting the Finnish underground and beyond since 2010. King Pin Frankie is treasure untold - a live Regis recording from New Year's Eve 1997 in Chicago. Pounding classic minimal TR 909 with an accelerating/decelerating arppegiator make this A side a serious find, with distorted synth moving platforms occurring as the track winds out. TIP! Luke's Scourge is an electronic composition masterpiece - pinning a straight kick underneath a shifting snare, leaving the question open - is it techno? Is it dark hop? Whatever it may be, the bass underneath tells it big and fills up a subwoofer. Limited Edition Print by nem0
Review: The dub aspects on these electronics are less obvious but can be traced within the way of the arrangements. Multiple layers of more or less coloured noisy and organic soundscapes are put together to form a kind of ambient that has the force to slow down time itself. The perfect music to heal hyperactive urbaners - just sit down, listen, watch, do nothing.
Review: At the third release on their deep house division Basic Channel keeps introducing new singers. Paul St Hilaire brings in a refreshing reggae flavour to the rather classic deep house set-up. The main vocal mix one A-side is allied with an instrumental on the B-side that reminiscent of Maurizio or Basic Channel releases.
Review: been four years since Chicago producer Andres "Specter" Ordonez pitched up on Theo Parrish's Sound Signature label with the smoky, bleep-laden killer "Pipe Bomb". Here, he returns to the Detroit veteran's imprint, bringing with him three more slabs of fuzzy analogue oddness. "The Gooch" is the real killer, a 10-minute freakout that sounds like a jazz band making murky techno with just analogue machinery to play with - all wonky electronics, subtle acid and loose but relentless cymbals. The bolder "Zodiak" impresses with its 303-driven aggression, while "Body Blow" sounds like Hieroglyphic Being jamming with Buddy Miles. On Mars. That's gotta be good, right?
Review: Will Bankhead's Trilogy Tapes imprint continues their assault on 2012 with the latest release of Tuff Sherm - an alias of TTT regular Dro Carey. Sitting nicely alongside the KM/MM and Willie Burns releases on TTT this year, the Pharmacy EP showcases a sound that is part raw techno, part submerged house; the title track combines rolling tom-heavy percussion with abrasive unprocessed synth tones, like Drexciya jamming with Kassem Mosse. On the flip, "Hydlide" makes things even murkier, with some abstract beatdown house that would give Madteo a run for his money, while "Leg Man" is another trip down the wormhole of abstract loops and minimal clockwork rhythms. We probably don't need to tell you, but this is another essential 12" from TTT!