Review: Italian expats Yoshi and Sbri run the Libertine imprint out of Berlin and the party of the same name, held down at the iconic Jannowitzbrucke district. Their label brings a renewed focus to often overlooked or even forgotten producers of the vintage techno realm, having previously shone the spotlight on legends such as Justin Morgan aka Ruseden, Ann Arbor's Andy Crosby aka Spesimen of (Infocalypse Records) and Miami electro-bass underdog Gosub. Their attention now focuses on one Scott Edward Hodgson, a London based producer highly active throughout the '90's on his on Beau Monde imprint, in addition to running Out Of Orbit: a sublabel of the legendary Roman imprint ACV, which was operated by the legendary Leo Anibaldi and Robert Armani. Expressive rhythm patterns, otherworldly synth textures plus certain suspense and a distinct aesthetic overall: which is absolutely timeless.
Review: Berlin retroverts Libertine are back with more jolly jams as part of their Traditions series, now with some unearthed tapes from Khan aka German producer Can Oral - founder of I'm Single /Super 8 and brother of Cem Oral from Air Liquide. He's released on a heap of seminal imprints since the early '90s, such as Mille Plateaux, Direct Drive, Playhouse and Cheap - so if you don't know about this guy: it's time you got familiar! Featured here are a bunch of zany acid flashbacks that perfectly freeze frame a very particular aesthetic in the Berlin based producer's storied past. Tracks like "Slow Stepper" or "20.02.94" are the zeitgeist of the capital's techno scene in the early '90s (and just as good as anything on Cabinet Records at the time), while "Mutama" goes for a more experimental edge with its snarling FM breaks. Finally "Acid Lemon Bits" gets all moody and tunnelling for those heads down moments on the dancefloor.
Review: The tenth volume in Libertine's "Traditions" series comes from Luke Vibert, a producer who has consistently delivered brilliant music across a range of electronic styles for the best part of three decades. This time he's in full-on intergalactic electro mode, charging between the ghetto-tech influenced dancefloor assault of "iSocket", the pitched-down, hip-hop tempo shimmer of "iTeeth" - all crunchy machine drums, intergalactic chords and alien lead lines - and the bleeping eccentricity of rolling workout "iCandy". Arguably best of all, though, is closing cut "iWash", a deliciously tipsy and wayward mixture of undulating acid lines, off-kilter synth splashes and skittish electro beats that are far more weighty than they initially appear.