Nothing Is True; Everything Is Permitted (instrumental) (4:54)
Breakin' Indistortion (instrumental) (4:16)
A Dirty Song (instrumental) (5:05)
Review: Dark Entries know their stuff when it comes to '80s synth pop reissues, and this latest reissue of Carlos Peron's Dirty Songs single is a sign of just how deep into the crates these guys get. Originally out over thirty years ago, these instrumentals are still total killers and will go down a storm in most DJ sets which venture out of the 4/4 formula. "Nothing Is True; Everything Is Permitted" and "Breakin' Indistortion" are particularly fresh and must have truly cut the edge back then: metallic drum machine beats and sparse melodies ring away into the cavernous ambience created by Peron. Wonderful and highly recommended.
Review: Photonz is the alias of Marco Rodrigues a DJ, producer and driving force of Lisbon's underground scene. For little over a decade now, he's been crafting his own deeply personal style of Portuguese house and techno for labels such as Creme Organization, 20:20 Vision, Don't Be Afraid, Skylax, Unknown To The Unknown and his own One Eyed Jacks. As a DJ, Photonz grew a reputation for deep crates and intensely euphoric sets and in 2017, together with Violet (co-founder at his Radio Quantica) and Lisbon's own Rabbit Hole collective, he started the now infamous Mina parties - a monthly, sex-positive, queer and intersectional-feminist techno party aimed at using the dissociative potential of intense raving to create a temporary space of suspension away from patriarchal expectations.
Etheric Body Music is Photonz's debut 6-track EP for Dark Entries and a simultaneous reference to hermeticism and EBM (Electronic Body Music). Marco loves that "aesthetic when 80s industrial and EBM bands split up and start to make trance in the early 90s and all the ritual magick pushes them to zen stuff and they do ecstasy." There's this concept in theosophy and hermetic philosophy of the Etheric Body, which is an energy body superimposed and connected to the physical body, similar to the acupuncture idea of an energetic body. That idea manifests itself as six primal club cuts, which also channel early techno, Drexciyan rhythms, balearic & old school jack. Raw arpeggiated synth lines and bass blast jut against metallic stabs and highly percussive shakedowns to create mournful atmospheric warped house. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a psychedelic jacket with snakey green and purple velvet in an electric acid spewing weird biological alien energy form designed by Eloise Leigh.
Review: FXHE maintain their monthly heat emission for 2012, with label boss Omar S displaying all aspects of his production prowess (as well as skill for a humorous track titles) across four productions - one of which features the button bashing assistance of one Patrik Sjeren. There's something icily brilliant about the restrained "Income Tax Refund Dance" melding a dark piano riff with snapping 808 kicks and rippling lo fi rhythms which only further justifies the title of Omar S's killer 2011 LP. It's complemented by the far rowdier box jam "The White Castle Song" which jackhammers a simple yet highly flammable key riff over low rent percussion for FXHE's most potent ode to the perfect warehouse moment since the all conquering "Here's Your Trance..." Given the lack of additional info, we presume the Patrik Sjeren that produces the B Side "Untitled" track is the same Patrik Sjeren that released in the mid 90s under a multiplicity of aliases, and his contribution is every bit as incendiary as the track preceding it, whilst "3c 273" sees Omar S slip into pensive utopian electro mode with aplomb.
Review: To complement Objekt's masterful 36-track session for their irregular Kern mix series, Tresor have put out two self-explanatory 12" samplers. Kern Vol. 3: The Exclusives sees contributions from accomplished electro technicians Clatterbox and Polzer as well as Bristol's rising Shanti Celeste and Via App of 1080p fame. "Aspect Ratio" from Clatterbox and Celeste's understandably incandescent "Lights" both feature in a movement on the mix that is a real highlight of Kern Vol. 3, but DJs will be happy both have been pressed her for full club play. On the B-side, the swift and snappy metallic tunnelling of Polzer's "Static Rectifier" could be mistaken for an angry DJ Stingray, whilst Via App's "From Across The Room (Edit)" is a more playful, if pensive affair.
Review: Master of minimal wave sonics Alessandro Parisi has spread his full-bodied synth wares around such esteemed labels as Slow Motion, Charlois, Giallo Disco, Lux Rec and more besides, and now he slides up to Vivod with an EP of noirish fantasies you'll be hard pushed to resist. "Crossfire" is the more uptempo cut, but "Ravens" paints a more vivid picture of retro-fetishistic club music in dangerous places. "Praying Sages" goes all out on the soundtrack vibe, but not before it's been remixed by Mick Wills, who casually threads a driving techno undercarriage into the track to create a strangely transcendental slab of cathedral-ready body music.
Nocturnal Emissions - "Even The Good Times Are Bad (1983)" (4:33)
Innyster - "Todis" (6:08)
Review: Contort Yourself reaches its sixth installment with yet another era spanning gathering of post-punk and industrial oddities for the most deviant of dancefloors to digest. In the contemporary corner we have Penelope's Fiance, a promising industrial artist from Greece. Meanwhile on the B-side, Nigel Ayers as Nocturnal Emissions takes us back to 1983 with the utterly chilling "Demon Circuits Bloodbath" and "Even The Good Times Are Bad". L.I.E.S boss Ron Morelli steps up as U202 to remix "Even The Good Times Are Bad" as a death march of malevolent percussion.
Review: First up on Klakson's NR series is Privacy, a Berlin-based producer whose crunchy electro missives and mangled dancefloor fusions have previously graced the catalogues of Lobster Theremin, Klasse Wrecks and Cultivated Electronics. There's plenty to set the pulse racing throughout the EP, from the punchy electro beats, squelchy bass and foreboding synth-strings of opener "Slide Back", to the rolling mid-tempo dancefloor melancholy of closing cut "(Not) Again!", whose cascading chords and unsettling bassline help set a suitably clandestine mood. Elsewhere, "Filestream" is a fuzzy but melodious chunk of lo-fi late night electro, while "Go" is a high-octane ghetto-tech thriller capable of causing devastation on dancefloors that like it raw and speedy.
Sync 24 & Luke Eargoggle - "Broken Electronix" (5:47)
UHU - "Never See" (4:00)
Privacy - "Miss You" (5:47)
Etcher - "Super-Translations" (5:53)
Review: Drawn together by a common "passion for the connection between man, mechanics and electronics", the artists on Mechatronica label all well-versed in the art of electro. Veterans Sync24 and Luke Eargoggle team up for the master-blaster that is "Broken Electronix", a menacing stab of a groove that dissolves into the more granular computer-world of "Never See" by UHU. On the flip, "Miss You" by Privacy is dark, spectral and hollow, while "Super-Translations" by Etcher feels like a ride on the same aquatic waves of electro giants like Drexciya. Excellent stuff.
Review: Re-Release: Released in 1997, the sound of electro / techno came to a point where it had to evolve into a new and more
grounded entity, keyed into funk / space & rooted origins that reflected an ever-changing landscape throughout Detroit
and the 'Aux-Quadrant'. The bouncy bass line soul of 'Posatronix' project emerges in silence among several platforms
without hint of a proper biography or introduction. Later on the guard would be let down that an original lineup
member from AUX88 (William 'BJ Smith) either produced or inducted A spin-off group over seen by AUX...No video,
photos, or interviews accompanied the music...Now in 2018, we re-introduce these dance floor/ dj crate mainstays that
have continued to be cherished classics from the very men that not only too rhythmically-funky electro by storm, but
raised the bar and took matters into their own hands. 100% Mechanical Electronic Funk.
Review: From the minds of Direct Beat and Detroit Bass Classics, comes the first initial compilation of electro/techno heat. "Electro In The Key Of Detroit Vol 1" presents 4 proven dance floor dope and record crate staples that provide the hungry ears of masses the groove to move. A Side features two sure-fire steppers - a rare AUX 88 voyage entitled "Phantom Power" and Blak Tony's tempo-pushing "Holla Holla" finally see the light of day on this wax collectable, giving praise to Motor City footwork culture. On the flip, DJ K-1's "Erase The Time" rocked the airwaves and global clubs with its signature thumping style laced beneath alien-like melody and repetitive vocal structure while Posatronix's mutant-rhythm mantra, "Pure Techno Sound" pulls the weight of Detroit's street dance roots down to the origin of how to boogie in space. This collection of re-issued jams and new explorations is the must-have for the electro/techno & bass aficionado.
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.
Review: Cong Burn is a new label that features a range of producers plying a more interesting twist on the standard deep house formula. Take opening case in point Haddon, who uses oodles of processing to create a slippery, shifting tripper out of "Not Coming To The Club" and instantly stepping aside from the run of the mill milieu. Howes then pops up with the snaking, ultra-deep electro abstractions of "Untitled". L Pearson is in a particularly cheeky mood with the scratchy micro-sampling fun of "PSR1170", calling to mind the crafty chops of Paradroid et al, and then Perfume Advert book end the release with some beautifully horizontal deep house for the subliminally minded to revel in.
Roger Van Lunteren - "On And Dna No (The Sun Riser)" (5:06)
Phil Gerus - "Prelude To Love" (4:37)
Review: The XXX crew are on a mission to celebrate the adventurous and utterly well-informed dance music scene of Amsterdam, and they move to the fourth release on their label with a strong cast of characters that all have something different to say. Alterleo opens up the 12" with the low-throbbing psyche out of "Train To..." before Al Gobi takes over with the aqueous hardware house bubbles of "Rule Of Three". On the B side, Jack Pattern & John Parsley work together to lay down a fierce blend of industrial and disco that will send shivers down your spine. Roger Van Lunteren meanwhile revels in the squelchiest kind of esoteric acid with a new age mystique thrown in for good measure, and then Phil Gerus provides a soothing soliloquy to finish this distinctive record off.
Review: The first release from R.A.N.D Muzik Recordings, a new venture from Gunnar Heuschkel and Jan Freund's Leipzig-based pressing plant, is either a statement of intent or a collection of killer cuts from artists they've previously dealt with. Either way, it's something of a treat from start to finish. For proof, check the early Orbital-goes-electro positivity of Varum's "Das Busch", the psychedelic, acid-fired electro trip of Perm's thoroughly intoxicated "All", and the low-slung, pitched-down, lo-fi electro swing of Uncanny Valley regular Credit 00's fine "On Hold". If that's not enough to sway you, Robyrt Hecht and XY0185 do a passable impression of Drexciya on bustling opener "The Left Lane".
Review: Point B has a mighty fine discography behind him, although he's been a little quiet on the release front in the past five years. Rumour has it he's been busy with other projects, but his return to the club 12" format finds him in searing form. "Jack Knife" kicks proceedings off on a twitchy, electro-indebted tip, with deft splashes of IDM synths to match the beats. "Out Of Flavour" has a more manic feel, with some seriously warped lead tones to twist minds left right and centre. "Video Vault" drops the tempo a touch, but the feisty sound design and brooding atmospheres remain at the heart of the track. "Smash Hits" finishes the record off with a playful electro funk cut that wouldn't sound out of place alongside classic DMX Krew.
Review: The latest Acido release sees the full debut of Karl Lukas Pettersson, aka Gothenburg's premier electro exponent Lukas Karl Pettersson who previously featured on Dynamo Dreesen's label back in 2007 under his familiar Luke Eargoggle alias. As Karl Lukas Pettersson, the Swede is evidently looking to explore a sound less trodden with both "Paradise Island" and "Travel The World" crafty concoctions formed from various elements of primitive wave and Das Ding style electro that sound convincingly like they were exhumed from DAT tapes in the late '80s. If you are a fan of Acido, you'll no doubt be used to such stylistic deviations from the label, but Dark Entries and Minimal Wave fans should also check these cuts!
Review: There are no prizes for guessing the influences of this hand-stamped, screen printed 12" from illusive Dutch artist Proxyan given that its title, 313, is also the area code for Detroit. The mystery man channels those Motor Funk vibes through his own crystalline melodic filter and out the other side come three superbly evocative electro tunes. "Network 313" has a curious, inquisitive lead synth over slippery drums, while "Artificial Superstition" has a more doleful mood. "Human-Error Processor" is the crunchiest and most visceral of the lot, but the EP ends on the brain cleansing alien frequencies of Tracey's deft remix.
Review: Proof of the rude health of the Australian underground abounds with this new label from Phile, who step out with a self-titled debut EP that tells you all you need to know. This is searing, brutalist techno crafted with invention and imagination - the dense crackle of the beats and scorched peals of synth on "Found In Blood" are a visceral force to behold. "Marauder" is mellow by comparison, furnishing a minimal beat with live bass, dramatic string licks and steadily building atmospherics. The analogue dirt of "Abhor" is positively evil, and that's before Karina Utomo's none-scarier vocals come into play. Brimming with personality and demanding of your attention, Phile made themselves a duo to watch in one fell swoop.
Review: Rawax Motor City Edition is just one more great move to have come from the parent label, Rawax, as it offers us new and exclusive house and techno from the best emerging talents out there; the reissue game can get a little political at times, so we always prefer to hear the goods from the source direct. Polyfan Polyphenix comes through with a certain confidence that has been lacking form the recent elector onslaught, touching down with plenty of thick beats, dusty breaks and, of course, an unlimited supply of rumbling bass lines that recall the likes of Drexciya and anything Gerald Simpson-related. However, tunes like "Polyfanatic" or "Polytics" are very much grounded in their own mystique, blending up German tech with all sorts of elastic electro aesthetics from both the US and EU spectrum. BOMBS.
Review: Prolific analogue explorer Perseus Traxx is on top form on this fifth and final 12" of 2017. It marks his first appearance on Holland's Pareidolia Recordings and contains a quartet of cuts that brilliantly blur the boundaries between electro, techno and early Chicago house. We've particularly been enjoying the foreboding, minor key melodies, ragged machine percussion, fizzing acid flashes and mud-caked lo-fi production of opener "Atlantis", though mazy acid-electro jam "Electric Duo" and meandering jack-track "When I Think Of You" - all Adonis beats, tumbling synthesizer melodies and acid bass - are equally as impressive. If you get time, check "Offerings To Herne", too - while the melodies are poignant and alluring, the track's other elements are tough and foreboding.
Review: Frits Caroe, AKA Popmix, unleashes some fascinating sounds on his debut release, which should score with discerning listeners looking for those tracks that standout without making a scene. Occupying somewhere between deep house, IDM, slo-mo and techno, there's mass appeal here but with niche noises. 'Funtema' has one of those wasp-in-jar synth lines that threaten to drive you crazy, or at least send the dancefloor into a frenzy, but avoids all intensity, balancing things out with playful keyboards and expansive refrains. 'Klub Frimis' is more of a plodder, its stabbing low end and twisted glockenspiel chords inviting everyone to get stuck in. Closing out on 'Teenage Club Fantasy', a sparse, low tempo acid-inflected epic that never veers from the course it's sets out on, you can have a lot of fun with what's here.
Alessandro Adriani - "Do Not Deliver Me Into The Enemy's Hands" (6:01)
Raw Ambassador - "Attack, Attack!" (5:49)
Review: New Italian label Hiroshima 45 Chernobyl 86 Windows 95 present Pubblicazione 001. Starting off on the A side is Penelope's Fiance from Thessaloniki, who serves up a lo-fi and coldwave perspective of the Boards Of Canada on "Run & Gun", while Italians Rawmance and Security team up on the slo-mo EBM mutation of "Un Bon Flic" - bringing you the sound of latter's Knick Knack Yoda burger club in Rome. On the flip, Mannequin boss Alessandro Adriani gives us the gnarly 303 acid epic "Do Not Deliver Me Into The Enemy's Hands" and Raw Ambassador aka Antonio Barbetta gives us the early industrial sounds of "Attack, Attack!" with its rusty aesthetic calling to mind the classics of Portion Control or Skinny Puppy.