Review: This time the Mojuba sublabel brings us the second part of the 'Detroit' series by the label owner Don Williams himself. This one-sided
record features two fine examples of music inspired by the city of D. The first one is a pumping, peak-time cut to hit the dancefloors with
and might become an essential tool for the ambitious DJ. The second track convinces in its very own character, providing a feeling that
many will recognize from the early years of techno, when this music was connected to the listener in a more deep and emotional way.
Review: Artless Records serves us a brilliant two tracker from this up and coming producer, Marko Furstenberg. Mr Furstenberg shows us with this track his massive Berlin/chain reaction influence. Dubby, deep chording at its best!
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: 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.
America (Terrence Dixon Minimal Detroit mix) (7:00)
Acid Bells (DJ Koze edit) (7:37)
Review: If you had to pick a handful of highlights from Efdemin's bulging biography, we'd wager that 2007's "Acid Bells" and 2007's "America" would be amongst them. Curle Recordings clearly thinks so, too, because they've decided to deliver freshly remixed versions of both. Fittingly, veteran Detroiter Terrence Parker reworks "America", dousing Efedemin's Steve Reich style cyclic melody in copious amounts of delay and reverb whilst maintaining a metronomic, Motor City style minimal techno groove. DJ Koze sprints off in the other direction, adding waves of pots-and-pans percussion hits to the already-wonky brilliance of "Acid Bells". Both revisions are relatively reverential and sound like sure-fire early morning winners.
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: Drumcode's first big release of 2019 comes courtesy of Julian Jeweil, a relative newcomer to the Swedish label who originally built his reputation via years of releases on M_Nus, Plus 8 and Cocoon Recordings. "Transmission" is not only his long-awaited debut album, but also a far more spacey and intergalactic proposition than much of Drumcode's output. Of course, the majority of the tracks are still underpinned by relentless techno rhythms and gnarly electronic stabs, with plenty of darkness amongst the stargazing grooves. Intriguingly, there's also a little more variety than you might expect, with the deep and woozy "Planet X", acid-fired heaviness of "Astral" and glassy-eyed early morning ambient of "Final" catching the ear.
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....
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: 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.
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.
Dreaming Of Paradise (Oracy Leaving Eden dub) (9:26)
Review: Fresh from Utrecht, Blue Closet makes his debut on Mojuba with two startling originals; "To The Ocean Floor" lives up to its name with big pad washes and beats that shuffle like an old Rolando joint. Immersive and captivating, it's the perfect set opener that allows you to take any direction you wish. Flip for "Dreaming Of Paradise", a yearning, barbed soul cut that's reminiscent of Lee Burridge 15 years ago but at around half the tempo. Powerful and dreamy, it's complemented by a bubbling version from Oracy that blows Closet's doors off. More please, Bluey.
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: On celebrating 22 years of Josh Wink's cult acid classic "Sixth Sense" on his legendary Ovum imprint, they've invited one half of Masters At Work, Louie Vega, and Israeli techno hero Shlomi Aber for a set of remarkable updates. Vega looks after the A side with a couple of sweltering reworks: from the bouncy, bass-driven groove attitude of the main remix which retains industry veteran Ursula Rucker's powerful vocal performance, to the handy dub version up next. On the flip, Aber certainly has come a long way since the days of Chicago Days/Detroit Nights - it's about spending all weekend at Berlin's Berghain these days - getting on some proper tunnel vision with his steely and austere rework.
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.