Review: The incredible Mesak returns to the label with more wonderful electronic delights. If you know your electronics then you'll know Mesak and his out put, if you don't then you really should take the time and get to know his unique and very special sounds
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. 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.
'Nuit' is Photonz's debut album and a simultaneous reference the Egyptian Goddess of the Stars or Night. Marco was really swept away by the concept of 'freedom of form under the night sky', the accepting embrace of Nuit. Ancestral, but also socially advanced and utopian; a deification of the night time. These ideas manifest themselves as eleven songs spread across two LPs that wax and wane like the moon. Photonz channels early techno, Drexciyan rhythms, balearic & atmospheric house; layering sounds, creating moments. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a royal blue and neon yellow jacket with duality/birth symbolism and trance-hieroglyphs designed by Eloise Leigh. Each copy includes a glow-in-the-dark sticker and a postcard with notes
Review: Earlier in the year, Luke Slater offered up one of the most full-throttle and mind-altering Planetary Assault Systems releases of recent times, "Straight Shooting". He opts for a similarly mind-altering, forthright fusion of sci-fi sounds and jacking techno rhythms on this fine double EP, which marks the British veteran's return to Ostgut Ton after a three-year break. It was apparently inspired by his experiences in Berghain and on tracks like "Red" - all looped bleeps, computerized rhythms and hazy vocal samples - and the thrusting, acid-fired tribal stomp of "Whip It Good" you can definitely hear the influence of the Berlin club space. It's there, too, in the wonky broken techno/electro fusion of "Kamani" and the feverish "Peru Drift", which sounds like a 21st century take on Jaydee's "Plastic Dreams".