Review: By his legendary standards of messiness, Ricardo Villalobos seems to have calmed down a bit of late. Perhaps it's related to spending more time in the studio, because Dependent & Happy is his first solo full-length for four years. It's a pretty good set, all told, delivering warmer, groovier minimal tracks than we've come to expect from the skeletal, perma sweating Chilean. Notably, there are more melodies, looser drums - some of which have a smooth swing that suggests he's rediscovering his Mojo - and even the odd track featuring rolling electric pianos and a fuller sound (see the devilishly funky "Samma" and Clavinet-boasting "Tu Actilud").
Review: Given that Ricardo Villalobos was one of a handful of guest producers who featured on Oren Ambarchi's recent Hubris album - a krautrock-influenced minimalist techno exploration that also boasted contributions from Jim O'Rourke and Mark Fell, amongst others - it seems fitting that he's been roped in to provide two new remixes. The Chilean's contribution to the album was largely rhythm-based, and his two lengthy Variations - each stretched across one side of wax - promote undulating, heads-down dancefloor hypnotism above all else. Naturally, his drum programming and use of subtle stylistic shifts is as on-point as ever, with Ambarchi's original textures being manipulated into mind-altering new shapes.
Review: Parisian minimal house hero Lowris launched Aeternum Music back in 2013 with Jennifer and like fellow local Cabanne, has been quite influential in the resurgence of the quirky and experimental sub genre known as microhouse: which still holds a flame to seminal late noughties work by Force Inc and Perlon. They've presented great work by local Le Loup, Romanian impresario Nu Zau and Russian up and comer Denis Kaznacheev. Now the label's ninth release comes courtesy of upstart Ashac; who presents a full length release which presents a great snapshot of the current it sound in minimal that crossover over from rreducitonist mini-funk grooves into eletcro territory. On the first disc you've got quirky and bumpin' blip-blurp grooves like "Jazz Machines'n'skulls" or "Bad Drummer" which would make even Dimbiman stand up and notice, Motor city influenced electro-funk on "Mistery sciences" or tracks wich sonically describe that perfect space between like on "Time Traveller" which nails it just as well as Saverio Celestri or Binh have too of late.
Review: Back in 2008, noted experimentalist Alva Noto began a sporadic series of albums that were far more focused on dancefloor-inspired rhythms than his usual eccentric and inspiring fare. Unieqav is the third and, we're told, final part of the series. The album is apparently meant to be a sonic representation of an underwater dive, a conceptual theme which manifests itself through the storied producer's use of deep and atmospheric chords, fluid and occasionally glistening electronics, and rhythms that evoke images of ever-deeper dives into the dark, cold depths. Rhytmically, there are nods to electro, IDM, dub techno and Autechre, though the mood remains laidback and intoxicated throughout.
Review: The 110th release from Kompakt Extra comes from Extrawelt, a long-serving electronic band from Hamburg that has previously impressed via albums and singles on Traum Schallplatten, Border Community, Darkroom Dubs and Cocoon Recordings. They naturally hit the ground running with "Pink Panzer", a bustling affair that mixes live drum breakbeats and tough machine percussion with moody, booming bass, creepy strings and evocative, ever-building tech-house electronics. Flipside "Argonaut" is an altogether sleazier and heavier affair full of thrusting, non-stop distorted bass, redlined post-electro drums and all manner of mind-mangling electronic effects. It's effectively the Yang to the A-side's Ying and, like its' predecessor, very good indeed.
Review: Guy From Downstairs marks his debut on Pleasure Zone with four expertly reduced minimal grooves that are riddled with brain tickling sine waves and icy hi hats. 'Baba Novabass' is a symphony of sleek late night sounds with a catchy groove and 'Dil' (feat Mandela) has a bulbous bassline that ebbs and flows beneath razor sharp percussion. Upping the ante is the more high speed drum work of 'Lamps' with its squelchy stabs and muttered vocal and finally 'Mission Accomplice' layers up late night and jazzy chords with rockets rhythms and a subtly pumping b-line that works those hips.
Review: Following the skittering, syncopated arrangements and left-handed excursions of 'Aslohop' and 'Detrant' back in September, Ricardo returns to Rawax with two more broken rhythms. 'Neunachi' is a classic Villalobos wonky shuffer with off-grid kicks and a rainbow of wet, cavernous noises. Take away the demonic reverse vocals and you're in microhouse territory. 'Detrant' is a much more driven affair, up-tempo and thicker, electro kicks off-set by a far-away chant. Each cut going the full nine yards; if ever we've had time to truly lock in to Ricardo's famously enduring grooves, it's right now. Neun out of ten.
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'.
Die Kosmischen Kuriere (Moritz Von Oswald & Thomas Fehlmann mix) (6:30)
Die Kosmischen Kuriere (5:20)
Jazz Is The Teacher (Magic Juan edit) (9:39)
Jazz Is The Teacher (Moritz Von Oswald + Thomas Fehlmann mix) (7:09)
The 4th Quarter (5:07)
Review: Tresor is celebrating 30 years in the game with a series of special reissue projects. This one really goes way back to almost the start, when Juan Atkins was already defining the early techno sound. For this one he linked up with Moritz von Oswald and Thomas Fehlmann in 1992 for a second iteration of the 3 Men in Berlin project. The monumental results join the dots between Detroit and Berlin across a collection of timeless cuts that meld bassline funk, hypnotic minimalism and soulful machine sounds into propulsive, emotive dance floor joy. The unbridled energy and cosmic elegance of 'Jazz Is The Teacher' might just be the highlight.
Feel Young Again (Ricardo Villalobos remix) (16:24)
Don't Let The Light In (Ricardo Villalobos remix) (15:13)
Review: For fans of off-kilter, minimalistic dance music, there is little more exciting than seeing the words "Ricardo Villalobos remix" printed on to the label of a brand-new record. For all his faults, Villalobos rarely delivers a duff rework, and he's once again hot gold with these revisions of experimental art-rock ensemble Low Island. He first tackles 'Feel Low Again', reinventing the indie-rock cut as a low-slung chunk of woozy minimal techno full of drifting vocals, bubbly electro bass, distant cymbals and snare-heavy beats. On the flip Villalobos reworks 'Don't Let The Light In', offering a slightly less dense and undeniably energetic take full of oddly-tuned electro bass, glitchy sounds, hazy chords and layered vocal samples.
Review: Over a career stretching back almost two decades, Robag Wruhme has proved to be one of minimal house and techno's most unique producers, with a trademark sound that's become a byword for mind-altering, late-night quality. Fans of the Wruhme sound will love his latest outing on Kompakt extra. Our pick of the pair is driving A-side 'No', where mystical sounds, exotic percussion and sustained chords rise above a thrusting bassline and a rock-solid drum machine rhythm. By his standards it's quite "big", though that's not a criticism - 'No' genuinely sounds like a proper peak-time banger. B-side 'Frontex Freppant' is more in-keeping with his hazy, hypnotic sound of old, with stabbing electronics, looped aural textures and wonky electronics clustered around another tough, weighty techno groove.
Review: Clommunity is a label from the good people of Kyiv club Closer, which is one of the most revered and respected in Europe right now. This third outing deals in the sort of deep and intimate sounds you can expect to hear in the club on any given night and it comes from Closer resident Yone-ko, who is a techno maestro from Japan but currently based in Berlin. There is a melancholy to thee tunes, with their wispy pads and dreamy chords, while the rolling, scuffed up drums lock you into a state of trance. Minimal in design yet maximal in impact, this is high-grade stuff.
Review: Locklead has been laying down classy house music for the likes of Pleasure Zone, Rawax, Unknown To The Unknown and Hot Haus, so you know he means business. After this sterling run of singles he's stepping to Up The Stuss with his debut album Square One, which deals in eight richly rendered cuts of contemporary tackle that sum up everything he's achieved to date. There's a pervasive deepness at work on 'Light Of Day' which draws you in from the get-go, while 'Bumpin' Headz' revels in shimmering, bouncy chords and Detroit flavoured strings pads. 'Hunting' has a more inquisitive quality as it courses through minimal-tinted grooves and synth riffs, while 'Plants & Astronauts' takes a more cosmic approach to the tech house formula. We could go on but you get the idea - this is house music through and through, presented in pristine technicolour for maximum satisfaction.
Review: Anonymous label Tartan kicks off with two tracks that should pique the interest of anyone who seeks out unusual swerves to spice up their DJ sets. On the A side, 'Took My Heart Away' fuses uncanny sounds from rolling thunder to South Asian vocals, strapped to a brooding beat that should be compatible with the chugging crowd. On the flip, 'Sun' nudges up the tempo a touch and spaces things out considerably, creating a swirling deepest techno mood which might well herald the odd sunrise given half a chance.
Review: RECOMMENDED
The DJ Kicks series has managed to outlast the vast majority of other DJ mixes we can think of - the good, the bad, the populist, and the plain cash cow. Even the mighty fabric compilations have rebranded and rethought, bringing the original legacy, FABRICLIVE included, to a respectful end at 200 outings. Strange, then, to think, that !K7's mighty offering to the world of "What should we listen to at the afters?" has arguably managed to become more relevant as the years have flown by.
There was a time when the series existed at the lighter end of club fare, with some examples barely even matching that description. These days, though, there's often a dance floor heaviness central to the selections, with Jessy Lanza's broken, bass-driven set a case in point. Pointless attempts to describe the music, and lazy track list namedropping aside, this is energy-packed, heads down, futurist stuff packed with infectious percussion.
Review: REPRESS ALERT!: Margaret Dygas may be based in Berlin but her unique sound can't be tied down to any one city or scene, as she proves on her latest 12" across three tracks for the consistently exciting Half Baked label. Not that there's anything half done here, of course, with A-side tune 'Butterfly Effect' a prime slice of groovy. resonant techno that's understated and restrained enough to gain comparisons to Jaydee's 'Plastic Dreams' classic. 'CC Is 33' is warmer, with nicely slidy, jazzy organ chords and itchy technofunk rhythms, with the most minimal of the three tracks, the static-infused, atmospheric 'Subliminal 20A7', coming last but by no means least. A great showcase for a great, original talent.
Review:
For their second installment, the Chateau Chepere crew brings on board legendary producer Stephan Laubner under his STL moniker, with four time warping pieces of music. With his distinctive and intricate sonic palette, Laubner extracts from his hardware different musical colors and shapes to produce singular atmospheres. Opening up the EP is Fly Fly, an epic 11 min minimal house trip full of tension and excitement, followed by Eargrind, an eerie, laid back Detroit leaning ballad. On the flip is Light Up, a spaced out, playful and bittersweet number that will revitalize any hazy after-hours dancefloor. Closing up the EP is Unlike Dislike, a quirky, jacking and mischievous techno workout for the packed club. This diverse ep will pull the listeners and dancers into Laubner's multifaceted, low key but captivating universe.
Review: New Rominimal this week from a scene stalwart. George Gavanescu aka Floog delivers four solid grooves on the Just In EP, the third release on Sepp's exciting new Lied imprint. The title track is an enchanting journey into the hypnotic, followed by the groovy afterhours microhouse of 'Stop Start Funk'. Over on the flip, things remain on the lean and subtle tip on 'Get Serious' with its atonal blips and bleeps underpinned by clipped rhythms, and closes it out with the ethereal dreamscape of 'Stop Start Trance'.
Review: Priku's Atipic imprint is back with a new one by Berlin-based Argentinian Alexis Cabrera this week. ATIPIC 014 features four tracks firmly entrenched in the minimal sound; the off-kilter, low slung breaks of '014.1' kicks off the EP featuring some sensual vocals by The Magic Olives, before the playful groove of '014.2' comes next that's reminiscent of late-noughties sounds on Minus or Oslo. On the second side, you've got the trippy microhouse bleep fest of '014.3' and ending with the experimental, piano-led downbeat piece '014.4'.
Review: The iconic North London dance music duo Idjut Boys are famed for their nostalgia fueled offerings of dub, disco and house and join forces again for this 4 track single featuring 4 completely different takes on the track 'Speedball'. The 'Full Whip' version is an 80s powersynth with powerful kicks and synth perfection, an authentic use of a commodified sound used in the past couple of years. 'Severe Itching' takes the party downstairs into an acid techno rave, the liquid bass seeping through your ear canal into your skull - an utterly extraterrestrial experience. 'Strip Off Dub' is just that: a stripped back dub version of 'Full Whip'. Focusing on the heftier synths and bass, with the rushing wind effects that compromised 'Full Whip'. 'Whizbang Mix' invites you back into the bassment for another slice of acid house pie, the meeting point between 'Full Whip' and 'Severe Itching' that feels like trying to listen to the former after the laters aforementioned liquid has blocked your eardrums. This one's for the messy afterparty.
Review: After a couple of quiet years Ferro's VBX label returns with a bang, as the esteemed Dutch minimal producer links up with none other than Ricardo Villalobos for a run of 'Ferric' jams. Enlightened souls should have some idea of what to expect here, as Ferro's snappy grooves collide with Villalobos' meandering sound collages to create psychoactive termites geared towards twisting out the dancefloor good and proper. This is proper minimal, with the percussion chiselled into fine clicks and pops to leave more space for the trippy elements to weave their magic. The quality comes assured from this new pairing, hopefully paving the way for more collaborations in the future.
Review: Irish DJ and promoter Saoirse is back with a follow up to her critically acclaimed and hugely welcomed debut solo release on new imprint trUst Recordings, with this three track EP entitled Two Bruised Egos. The EP starts off with the bouncy and energetic groove of 'Gentle Romance', before the tough rolling tech house of 'Can't We Just Have Fun' which keeps the energy levels high in the main room. Finally, the London-based producer heads to the afterhour on the playful minimal funk of 'Chubby'.
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