Straight Outta Horrington (SR Metal & Bang remix) (6:00)
Straight Outta Horrington (SR Dark Descent remix) (5:23)
Review: The man behind Tremors and Emetic Records, British producer Martyn Hare has been a purveyor of industrial/acidic techno since 2001. He steps up to the plate next for Edinburgh based RIOT Radio, run by Nomad and Neil Templar. They have previously served up editions by the likes of The Horrorist, Subhead and Jerome Hill: which gives you a pretty strong idea of where these guys are coming from. From the raw and bombastic power of "My Illusions" featuring howls and wails through layers of distortion, atop of a frenzy of furious beats. It then gets a rework by the Aufnahme + Wiedergabe affiliated Codex Empire, who takes the track into austere and pitch black territory. On the flip, you're treated to the honour of hearing three versions of "Straight Outta Horrington" - but it's all about SR Metal & Bang's contorted industrial perspective which drags you into the lowest depths of hell.
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.
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: 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: 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!
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.
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: 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: Thomas Bangalter's 12"s on Roule remain the most potent examples of the early 90s French Touch sound, and some two decades after their first release the Frenchman is re-releasing some of the prize picks from his formidable oeuvre. Trax On Da Rox Vol 2 follows the reissue of the first volume last month, and for what it's worth we reckon this instalment is even more essential. Tracks like "Club Soda" - perhaps the smoothest example of filter house ever committed to wax - as well as the abrasive ripples of "Extra Dry" and b-boy cut ups of "Shuffle" set a blueprint for a generation of producers who tried (and largely failed) to replicate the pumping, visceral energy displayed here, while Bangalter moved on, donned a mask and took over the world.
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: 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: 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: 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....
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!!