PEDER MANNERFELT レコード& CD

Review: Needs' commendable charity drive continues to bring forth the goods, both in terms of good causes and world class club music. Rallying round in support of World Mental Health Day 2020, Shanti Celeste kicks the record off in style with the rapid fire, deep-diving workout 'Fantasma'. OCB keeps the pressure up with the psychotropic techno of 'RS3', while Michelle works up some delightfully freaky synths on playful jacker 'Aesthetic'. Bobby's 'Free Your Mind' is a 90s-tinged, full fat techno production indebted to Detroit, Peder Mannerfelt keeps things stripped and raw on 'Our Levels' and Yu Su weaves a beautiful tapestry of interweaving rhythms on 'Brittney'. Adam Pits' trippy techno sounds resplendent on 'Wind Tunnel' and DJ Sports completes the set with the inventive, dembow slanted funk of 'Needs Dub'.

Review: Peder Mannerfelt rarely fails to bring the goods, and his latest missive for VOAM is as impressive as expected. Beginning with a titanic slab of percussion-laden Afro-techno (the frankly brilliant 'Year of the Rats'), the Stockholm-based artist charges between sweaty, loose-limbed industrial techno (the charged-up, Test Dept-on-steroids heaviness of 'Toms For Life'; buzzing, child-scaring insanity (the fuzzy intensity of 'Squarewave to Heaven'); dystopian ambient soundscapes (the almost cinematic creepiness of 'The Hudson Lament'); and skittish, sub-heavy, mind-altering electronica (bizarre-but-brilliant closing cut 'Sail On Silverboy'). In other words, it's another essential selection of clandestine club cuts and strange, sofa-bound treats from one of Sweden's most reliable producers.

Review: IDM and experimental electronics dwelling on the outer limits of techno here, from one of the most impressive figures on the Scandinavian scene. Titled 'The 3D Printed Songbook', it features the emotive chill electro of "First Day" that kinda sounds like space invaders in your typewriter. We also enjoyed the slow burning afterhours techno of "It's Coming", equally impressive with its industrial edge: off-kilter/steely and textured rhythms alongside sludgy arpeggios. Despite its name, "Texas Is The Reason" sounds more like Buffalo, New York via Stockholm on this hypnotic sci-fi thriller that merges Mike Parker style dystopianism with Mannerfelt's penchant for lo-fi electronics. By contrast, the sublime ambient interludes In between act as nice palette cleansers for the ears. Released via his eponymous imprint, Mannerfelt kicks off 2018 on the right foot, following up work on Fever Ray's most recent album.

Review: While Peder Mannerfelt has a history of delivering club-ready techno cuts - admittedly, mostly under the Subliminal Kid alias - his recent releases have been stoutly experimental affairs. This, though, should be considered something of a return to his bombastic dancefloor roots. Slipping out on Will Bankhead and Joy Orbison's hyped Hinge Finger imprint, the EP is chock full of rave-influenced rollers and throbbing, floor-friendly slammers. Chief amongst these is "Clear Eyes, Full Heart", a sweaty, full-body jacker blessed with creepy pads, pulsating rave bass, screeching sirens and dub-wise vocal snippets. It's utterly filthy, in the best possible way, and could well become one of the year's most ubiquitous tracks.

Review: For his third album, Swedish producer Peder Mannerfelt retreats to his own self-titled label. Not much else has changed though and Controlling Body is shot through with the same assured, experimental edge. "Building of the Mountain" kicks off the album with rave stabs breaking in slow motion and Glasser's high-pitched wail, while "Her Move" features an unnamed chanter speeding up and slowing down against robust break beats. There are also moments of real musical beauty - check the warm, enveloping chords of "BZ Reaction" and the ghostly, Biosphere-style radar whirrs of "Coast 2 Coast" - but this would not be a Mannerfelt work if it did not test the boundaries, as it does on the mannequin stuttering 'c-c-c-c-create' on the slowed down tribalism of "Limits to Growth" or the droning textures of "Abysmal".

Review: Scandinavian producer Peder Mannerfelt's 2014 debut, Lines Describing Circles, may have been impressive, but its spooky mixture of drone, ambient, and experimental electronics lacked focus. The same can't be said of The Swedish Congo Record, which sticks religiously to a surprising - but rather brilliant - concept. It's apparently an all synthesizer re-make of an obscure 1950s album of recordings of indigenous tribal music from the (then) Belgian Congo. With synthesizer notes being used to create both rhythm and melody, Mannerfelt's concoctions are bizarre but brilliant, and undoubtedly as intense and rhythmically dense as the album that inspired it.

Review: Trust is a long running Viennese electro label run by DJ Glow. Its latest release is a fierce four tracker featuring various artists, all undisputed luminaries of the electronic music scene. On the first side of Trust XY2 you have a true force to be reckoned with in the form of Microthol X Ultradyne with the sinister Detroit computer funk of 'Hostile Invasion' (Land Of Injustice mix) followed by the inimitable Peder Mannerfeldt's industrial-edged reconstruction of Clatterbox's 'Semi-Automatic'. On the second side, UK artist Second Storey provides a re-rub of another track from the Microthol back catalogue on 'Dissonanz' and finally veteran producer Alex Cortex delivers a minimal electro rework of DL-MS' track 'Last Smoke'.

Review: "Shared Meanings" has been one of Mumdance's most ambitious and explorative projects to date; pulling together the four corners of the hardcore continuum and tying them in a tight bow, his mix has drawn elements and parallels between all genres and laced them in a narrative that mirrors and reflects throughout. Now, for limited time only, we have five of the 32 tracks he included in the mix ranging from his and Logos' totem track "Teachers" which pays homage to the UK's forefathers, to the pulverising thumpy bumpy techno of Nkisi's "Kinenga" via stasis sensation ambience from Space Afrika in the form of "After They Entered It Was Only Evident". Coordinates don't come much broader or deeper, "Shared Meanings" is Mumdance in full on explorer mode. Long may his meaningful trips continue.