Review: Smoke Machine returns with a new split ep featuring two artists from the Organik festival stable: Agonis and Valentino Mora. This will be Agonis' second outing on the Taiwanese based label anda first for Valentino. Now 9 years in the running with a successful podcast and parties, this will be Smoke Machine's second release on their newly established label with many more to come.
Review: There's a decidedly rushing, saucer-eyed feel to Ellen Allien's latest album, her eighth since launching the BPitch Control label at the dawn of the century. The Berlin veteran shows no desire to soften her sound or move away from the dancefloor, delivering an eight-track set that giddily charges between neo-trance (the loved-up "Empathy" and tech-trance throb-job "Free Society"), post-dubstep electro (the swirling "MDMA" and atmospheric "Exit To Humanity"), raging acid ("Bowie In Harmony"), decidedly muscular techno (the arpeggio-driven heaviness of acid fired smasher "Love Distortion" and the creepier "Electronic Joy") and bubbly acid electro (superb closing cut "Stimulation").
Review: Some five years after re-launching his Crayon label via a fine EP of vintage "Tracks From The Vault", original 1990s tech-house producer Mark Ambrose serves up more gems from his bulging archives. The quality threshold remains dizzyingly high throughout. Check first the moody, back room dub of "Nightshift (Deeper Mix)", where gentle, alien synth lines and deep space chords tumble down over a heavy analogue bassline and locked-in beats, before turning your attention to "Space Animals", a deliciously dubbed-out affair rich in sub bass and drifting, deep space chords. If that's not enough, flip over and trance out to B side "Seduction" and finally, the slamming techno beats, looped electronics and mind-mangling TB-303 motifs of closer "Dusty Acid".
Review: The consistently great Olympos series reaches its fifth installment with none other than Aphrodite on the credits. The goddess of love is a marquee booking in this celestial scene, so expectations for the beats she yields are high. "Aligenis" makes for a strong opening statement as lysergic layers of effects processing and sound design writhe around a snaking techno backbone. "Enalia" nudges down into a more subterranean sound without losing that attention to detail, before "Morpho" swerves towards electro-flavoured beats without breaking the shroud of mystery and studio proficiency at work elsewhere on the EP. "Pitho" possibly saves the best til last - a simmering, subliminal ride through atmospheric percussion for the Dozzy-devotee crowd to get lost in.
Review: Central presents a unique recipe for the perfect DJ cake! Ingredients: 8'26'' of techno stepper, 5'45'' of masterful d'n'b and 4'05'' of ambient inner peace. Serve it hot with vanilla ice cream!!
Review: In the face of all those Clone reissue compilations, Tresor are doing the right thing and digging into their own archive of seminal aquatic machine funk from Detroit electro legends Drexciya, and stepping up with the Hydro Doorways EP is the kind of power move that most labels can only dream of being able to make. From the cinematic drama of "Quantum Hydrodynamics" to the textbook boogie down synth abandon of "Polymono Plexusgel", not forgetting the heavy-on-the-one throwdown of "Lost Vessel" or the alien gurgles and peppy pace of "Species On The Pod", or the... oh you know the drill. This is timeless, essential business for anyone that takes electronic music seriously.
Electro Music Union - "Electroshock Mountain" (5:55)
Sinoesin - "Static Bodies" (4:57)
Sinoesin - "Angels Of Altitude" (part 2) (7:55)
Electro Music Union - "Immortal Cities" (4:30)
Review: For a brief period in 1993 and 1994, British imprint Metatone released some seriously good electronic music. The label was the work of former Jack Trax man Damon D'Cruz and J.M.Atkins, who wrote and produced almost all of the releases under aliases including Electro Music Union, Sinoesin and Xonox. This fine compilation from Cold Blow and AVA. Records showcases the best of this work, drifting between deep and intergalactic workouts (see the spacey ambient influences and pitched-down grooves of "Angels of Altitude (Part 1)"), blissful ambient techno ("Structures 1"), rush-inducing dancefloor positivity (the overwhelmingly good "Structures 3"), spacey ambient ("Descent") and heavyweight, post-bleep brilliance ("Electroshock Mountain").
Review: Platform 23's celebration of Exquisite Corpse wraps up with this fourth installment of visionary proto trance bubblers from the dream team of Robbert Henyen, Debbie Jones and Tim Freeman. As with the previous installments, they've picked choice tracks from across the spectrum of the PWOG-affiliated project's output, kicking off with a transmission from the debut release, "Honeymoon". Throughout the mood is loose and wigged-out, with a pleasant stew of New Beat, acid, house, trance and dub among the core ingredients flavouring this thoroughly early 90s dish. This is psychedelic dance music crafted before the genre boundaries were established to ruin everyone's fun - savour the vibe as we return to more freewheeling times once more.
Review: UK techno producer Sigha returns to his experimental project Faugust for the first time since the Devotions (1984 - 2006) EP on the short lived Avian sub label Mira five years ago. Unlike its predecessor, "Parallel Rave Fantasies" resurrects his long-dormant Our Circula Sound imprint and dives into new sonic territory, incorporating more IDM and generative music. Check the mind-mangling and glitchy "Cold Harbour", the demented digitized soundscape of "Process Aesthetics" and the brutalist, body bashing industrial of closer "Definition".