Review: A new project based out of Copenhagen - Aether's Spring comes shrouded in mystery but makes a bold statement with this first transmission. WATER: Dancing Moon 12" leads in with "House In Blue Rain," a downcast track bathed in melancholic pads and blown out percussion around a steady 4/4 tick. "Dancing Moon" is a more kinetic affair that works with all kinds of synth shapes alongside some primal drum machine percussion that lends the track a new wave quality that suits it just fine. Closer "Throne Of Clay" spreads across the B side in a brooding, journeying epic fit for the likes of classic James Holden or a more wave-minded Jon Hopkins.
Review: Manchester artist Belly is back with his second EP of 2014 released through his new inprint Belly Dance and this time he is joined by East End Soul vocalist Shona Carmen & one half of Asphodells Tiimothy J Fairplay on the remix. The second EP see's Belly up the pace slightly from his inagural release moving slightly away of the slow beat of tracks like Dark Autumn and Farewell and embark on a sligtly more up tempo , swing style bordering on the style of Machine Drum. The first track 'Control' is a hazy club track with strong vocals from both Belly & Shona backed up by drum and bass beats which is followed by vocal heavy space beats in the form of 'Zu' . On the flip side we see the real inpact of Shona Carmen with a clubtrack loaded with summer vibes called 'Painting' . The vocals are soulfull and beautiful with a swing tempo and drum patterns that lift throughout. This is followed by Timothy J Fairplay bringing in his own take on 90's chicago garage music with a banging clubtrack remix of Dark Autumn off of Belly Dance 001.
Review: Junto Club kicked off Snap Crackle & Pop late last year, and now the label returns with the debut solo release from London-based outfit DEEDS. While Rollo and Kiri Inglis may have previously popped up on an obscure compilation on Anti-Ghost Moon Ray, this record should see their coldwave sound shoring up with many more adventurous listeners. "Video Dreams" is a beautifully melancholic slice of electronica while "Unknown" reaches for euphoric heights. Remixes from Bezier and The Field round the record out as a wonderful exercise in emotive home listening electronics for sensitive souls.
Review: Transparent Sound label boss Orson Bramley steps up to his long-standing imprint with a new guise, Empty Orchestra, which showcases yet more of his crafty, delicately executed take on electro. "Nervouse Smile" is an impeccable study of the style, loaded with intricate machine funk elements from twitchy drum programming to ethereal pads, and of course a healthy dose of funk for good measure. As well as the original version, there are additional remixes courtesy of rising stars Acidulant and Alero May, the latter of which has an especially infectious bassline ripple and some smart key change moments for a dynamic end result.
Review: Lustwerk Music presents a mysterious new entity known simply as The Fock. With little to no background information, this record stakes its own claim within the Galcher-verse by offering up a range of mixes of "Shat Pop." The "Saldes Mix" is a proper immersion heater of cerebral techno, while the nervy, stomping "Flood1 Remix" is credited to White Material regular Young Male. The "Electro Mix" has a squelchy, boogie-inflected palette offset by woozy atmospherics, and the "Ambient Mix" unsurprisingly does away with the drums and drifts in limbo with a disembodied tannoy announcement for company.
Review: HVL has landed on many different labels in recent years, but Rough House Rosie will always be something of a spiritual home for the adventurous deep electro and techno craftsman. Across the Hidden Valley EP he displays a fluid, instinctive approach to composition - "Enslaver" rolls out like a live jam but the detail and control embedded in the track is astounding. "Distom Spook" is charged with nervous acidic energy, while "Lemon Stealer" takes things in a more experimental direction with all manner of snaking synth voices wriggling around a crisp electro beat. "Crow Hill" finishes the EP off with a slow, rolling breakbeat groove and hazy pads for a quintessential B2 wind-down session.
Review: Torino label We Play The Music We Love has already made a strong start with some immersive turns by Trevor Deep Jr and Rills, and now they provide a platform for Italian duo Luminer. "Indaco" is a charged up dub techno excursion with crisp percussion to propel the classic chord shimmer that course through the centre of the track. "Canadian" takes a deeper direction with a crafty tapestry of synth flares and a more understated rhythm section. Hiver's reconstruction of "Indaco" opts for a crooked electro foundation, nimble acid line and a shapeless swell of pad tones as the key ingredients, and then Icelandic techno champ Thor whips up a sharp-strutting dub techno variation of "Canadian" that sits comfortably with the Luminer tracks.
The Man From Another Place (Timothy J Fairplay remix)
The Man From Another Place (Cottam remix)
Review: Hailing from sunny Los Angeles, Plastic Love Records kicks off our first release with an EP from label co-boss Jimmy Maheras. Maheras made his debut in 2011 with his Space Jam EP on the Crosstown Rebels edit sub-label, Rebellion. Since then he's released remixes and singles on Strainjjur, Riff Raff, Supernature, and Left'd.
Maheras's two original tracks showcase his depth with The Man From Another Place being squarely aimed at the big room dance floor and the second track, Arecibo, bringing a little Kraftwerkesque funk. We've commissioned Timothy J Fairplay (Crimes Of The Future) and Cottam (Aus Music / Ruff Draft) for two very unique remixes. Fairplay crunches down the original melody and throws it over the famed amen break to give TMFAP a hands in air late night feel while Cottam's remix brings the dreamy melody closer to acid with storming late night kick ready to knock down a wall.
Review: Thus far all we know about Wilson Phoenix is pressed into the previous two records the anonymous operator has released so far in 2018. That should be enough for techno heads with their ears to the ground - this is rough and ready hardware business for those who like it nasty. While not perhaps as willfully unhinged as Neil Landstrumm, it's very much in that sonic ballpark, not least on relentless acidic opener "Between Mars." Things get a little freakier with the pinging electro delights of "Moon Machine" before the rowdy rave beast "Exo Planet" levels the landscape with some brutal synth stabs that would sound at home on an early The Prodigy record.
Andy Rantzen - "The Dial" (Itch-E & Scratch-E mix)
Laccy - "Spectrum Of Vibrations"
Laccy - "Coincidence Of Opposites"
Review: The fourth installment on Spinning Plates comes from Andy Rantzen and Laccy, featuring a wealth of off-beat techno adventures for wayward souls. Rantzen is an Australian producer with a history remixing the likes of Severed Heads and working alongside Paul Mac as Itch-E & Scratch-E. His lead track "Digital Elf" is a stripped a raw beats n' bleeps workout, while "The Dial" finds Mac chipping in as they rework the track into a deadly old-skool burner for lovers of bleep techno. Laccy has only had one prior outing to date, but sounds in strong form on the sleek and crafty "Spectrum Of Vibrations" and delightfully freaky "Coincidence Of Opposites".
Review: The Shahr Farang label is always an interesting one to check in with, sometimes veering towards fragile ambience as much as intriguing beat constructions. Here, label mainstay Sohrab invites Erik Jahaali to join in on the tough yet atmospheric thrust of "Industriegebiet", before he goes it alone on the moody beatless blanket of sound that is "Fasseleh". Jahaali is back on board for "Skypainter," which pivots around dusty pads and subtle, snaking rhythms in the deepest techno tradition. "Dayi Mohsen" is the surprise of the record, dropping into a Mo Wax style funk that should soothe all manner of chill out room scenarios.
Review: The Electronic Leatherette label shows its hand straight away with a pointed nod to The Normal and the foundations of Mute Records. Sure enough there's an industrial, new wave and electro fog hanging over the nocturnal transmissions that make up this first release, although it's far from one dimensional throwback music. Vessel In Distress has a chilly sci-fi leaning to its brand of gloomy electro, but that's contrasted by the sprightly robo-funk of Franck Kartell's "Sigma Octantis". MSRG brings the party with the feisty stomp and gnarly synth lines of "Elliptical Wave", and Heinrich Dressel rolls out an evocative night crawler of a track in "Down Upsight", as is his customary style.