Review: Dagobert & Kalson deliver the third instalment of their serial Stellar Mode project, which sticks out like a rogue planet amid a sea of drab and unremarkable stylistic orbiters. This four-track cosmic fulguration consists of two tracks by each artist, and is notable for its ultra-glossy action-packed ambient breaks content; they've just done something wonderfully extra to the sound here, treating each element like exoplanetary objects of study and refinement. As Kraftwerkish sequences and ambient soundscapes collide with planetary ring systems of bass and plucksynth, what's not to love here?
Review: Here is the third and final chapter of the 'Systema Naturae' series on Berlin-based 012, with fresh deep techno visions from newcomers such as Daniel(i) from Belgium (Whispering Signals) who ventures into foreboding and murky territory on the off-kilter journey of 'Carabus', and there's the return of Greek producer Alex Tomb who gets into some hypnotic minimal techno on 'Paradisaea'. Elsewhere, Leipzig-based Kontinum pushes into full mental overdrive on the strobing cut 'Octandria' and finally you have the collaboration between Mary Yuzovskaya and label head Claudio PRC titled 'Marmor' which perfectly nails that ethereal Sound Of Rome vibe.
Review: French synth-dub duo Froid Dub return with a fresh sonic exploration on their new six-track album, taking their blend of synth wave and dub to new depths. Known for their organic-meets-digital sound, they push the boundaries even further with this release. The album features the unmistakable rhythms of the TR-808, now more submerged than ever in the thick, swirling echoes of digi-bass, creating a hypnotic atmosphere. Perfect for fans of experimental electronic and dub, this latest offering is another testament to Froid Dub's ability to fuse genres in a way that feels both timeless and forward-thinking.
Review: Leipzig based Riotvan, run by Peter Invasion and Panthera Krause, welcomes Kalexis and Paulor for this collaborative four track that mines techno's deepest depths. 'Going Through The Void' is a moody and slow motion opener that rides on an undulating bassline with plenty of ambient pads for company. 'Energy' is more edgy, a stomper with fractured vocals and wonky synths that builds a darker mood. On the flipside there is the brilliantly unhinged and unusual melodies of 'Lashes' which sounds like a marching band on acid and 'Magnetic' closes down with haunting low ends and spooky pads.
Review: The young but already impressive Headset label is back with a third outing and it is a various artists affair with a distinctly futuristic edge. Kami O's 'Blutak' rides on lurching rhythms that sway up and down with great force as percussion percussion and wiry electronics bring it to life. smiff's 'Blinker' is a broken beat with thudding kick and hits and clanging metallic sounds while Sweet Philly's 'Acid Siren Tool' is a raved-up jam ready to blow up the dance floor. Dubmonger & 9 Tails Fox tap into an old school,. high energy judge sound with darting rhythms and drilling sub bass nailing you to the floor on 'No Profit.'
Review: After the impressive scope of the first volume of Dysphoria |Euphoria, Ka-One and St-Sene have returned to their Flyance label with a second installment that goes even deeper into adventurous electronic pastures. There's a cinematic quality to the original productions that make up the first disc of Chapter Two, using mournful melodic refrains and a widescreen approach to production that draws the listener in to their emotive electro and techno world. In terms of remixers on the second disc, they haven't held back as AWB, Setaoc Mass, Luke Hess and Anetha all provide a more propulsive, club ready perspective on these thoughtfully crafted electronic gems.
Review: The No Agenda label takes its bow here with a new EP that features a first appearance from the US's Bridget Barkan. Kimono is behind the beats and they are couched in house. 'Waiting' opens with rattling chords that bring steely determination next to the time-keeping hi-hats and echoing vocal swirls that speak of a patient wait. The Aubrey rework is super fresh with daubs of dancing synth and sci-fi details over a barely-there rhythm. Shuffling deep house sound 'Forgiveness' closes out with more slight sound designs, dusty drums and plenty of suggestion rather than in-your-face maximalism.
Review: Before I Die have been putting out some high-grade leftfield delights from respected operators like Bernardino Femminelli, Tungusku and most recently Sewell & The Gong. Now it's the turn of Klangkollektor, indulging a collection of hazy dub excursions which sit somewhere near Balearic splendour, piano-charged melancholy and isolation tank meditation. In the dub tradition the approach is consistent and evenly paced, but it's certainly not aiming for any kind of typical Jamaican sound. Instead, there's a gentle introspection to the melodic content which gels perfectly with the spacious approach to mixing, unfurling across four sides of wax for an album you can just melt into.
Review: Koenig Cylinders always kept it hella real with their techno. The pair of John Selway and Oliver Chesler were pioneers of the hard stuff first time around and now that it is back en vogue, why not reissue this classic? 'Untitled' opens with a freaky vocal and eerie synth sound before '99.9' brings a wall of white noise and slamming drum patterns. 'Carousel' is an urgent wall-rattler with cantering drums and rave sires that light up the 'floor and 'Choreomania' shuts down with razor-sharp synths and acid flashes that tickle your brain. Arresting tackle of the highest order.
Review: Kop-Z reveals that he first encountered the term 'A Non-Equilibrium Thermodynamic System' in a book costing L2 in a Manchester junk shop. It is a term to describe humans as systems constantly battling entropy and the world's challenges to survive. "But we're also systems that work together, creating art and music," he reflects, appreciating the contrast between opposites like day and night, love and hate. His work merges autobiographical field recordings, looped vinyl and childhood video games with kinetic programming systems that are all influenced by jungle, footwork, noise, rave, post-punk and reggae. The result is a rich fabric of sound that blends human experience with machine chaos.
Review: Wiesbaden, Germany-born Florian Kupfer has spent the last decade exploring around the edges of the dancefloor with hugely evocative sounds that are always much more than mere tools. This latest mad-limited 12" is another doozy that opens with the menacing and mechanical rhythms of 'Sidelined' topped with eerie spoken word loops. 'Integrating The Shadow' is a more rugged electro rhythm with hissing hi-hats sweeping through the mix and downbeat chords adding a touch of melancholy. 'Unmasked' gets dark, dirty and messed up for those 5am wig-outs and 'Severed Lines Of Communication' is a hypnotic roller alive with static electricity.
Review: Two years after his critically acclaimed album Ultrachroma, Kangding Ray makes a typically bold return to ARA with his dance-floor-focused new long player, ZERO. The artwork reflects his diverse explorations and influences which converge here into a cohesive sound designed to ignite movement in the club. This album revisits the essence of his early work and is rather reminiscent of his debut on the experimental label Raster-Noton but it also incorporates the hypnotic elements characteristic of his DJ sets. Continuously evolving his sound and pushing the boundaries of the genre, all 10 of these tunes are mend melting and atmospheric rollers speed in great sound design.
Review: Fresh from launching their Voam imprint via an EP of clanking, mind-mangling industrial techno workouts, Blawan and Pariah don the Karenn alias once more for their first full-length outing. In keeping with their fuzzy, hardware-based approach, "Grapefruit Regret" is fiendishly forthright - a buzzing, crackling collection of club cuts built around armour plated kick drums, creepy and dystopian aural textures, chunky basslines and hypnotic, opaque lead lines. Occasionally it sounds like the product of two guys banging bits of metal against towering Brutalist buildings, at others the breathless soundtrack to illicit raves in car parks beneath crumbling Soviet-era municipal buildings. Throughout, it delivers some of the most intense and intoxicating techno jams of the year.
Review: Since delivering his debut album on PNN a decade ago, Matt Kent AKA Matt Karmil has proved adept at adapting the club-focused sound of his EPs to the long-playing format - as his inspired and wonderfully atmospheric sets for Idle Hands and Smalltown Supersound prove. He continues this notable run of form on this Studio Barnhus released set, crowding ultra-deep, dusty grooves in opaque chords, cut-up sample snippets, lo-fi crackle, hazy ambient textures and nods towards a myriad of ear-pleasing electronic styles and sounds. Highlights are plentiful, with our picks being the dubby, mind-altering late-night hypnotism of 'Still Something There' and the becalmed, meditative ambient deepness of superb closing cut '15 Mins' (which, confusingly, is just 13 minutes long).
Review: Kiasmos is the duo of Icelandic composer olafur Arnalds and Faroese musician Janus Rasmussen. To celebrate the tenth anniversary of their iconic debut album, it now gets reissued on a limited blue vinyl pressing of only 2000 copies. This album has been streamed over 100 million times on Spotify and is a cornerstone of experimental and ambient music that has inspired many artists around the world. Following the success of their recent album II, this anniversary release reminds us of the pair's beginnings when two friends were simply experimenting and creating music together in the studio. It has aged well and prices a great release from busy modern life into a world of supple rhythm and delicate, tender melody.
Review: Kiasmos, the dynamic duo of olafur Arnalds and Janus Rasmussen, returns with their long-awaited second album, II. This vinyl is a celebration of their evolution over a decade since their self-titled debut in 2014. Known for blending minimal techno with orchestral flourishes, Kiasmos has refined their sound, adding richer textures and a sense of place and space. II opens with Grown, setting a delicate atmospheric tone that showcases their matured sound design. Tracks like 'Dazed' highlight their innovative use of traditional Balinese percussion and field recordings, creating immersive auditory landscapes. The album seamlessly transitions from electronic to classical and rave, maintaining their signature style of whisper-quiet ambience evolving into explosive dance beats. Songs like 'Sailed' and 'Laced' exemplify their knack for blending intricate percussion with organic synths, resulting in tracks that are both effervescent and serene. olafur's cinematic influence and Janus's DJ experience shine through, pushing the boundaries of genre with frenetic broken beats and catchier melodies. The grand strings recorded with SinfoniaNord add a majestic layer to the complexities, making II a truly expansive work.
Review: Kike Pravda is back on his Senoid Recordings outlet with a new album one year in the making. The eight cuts find him further hone in on the essentialness of techno with nice hardware textures and that lived-in analogue feel that always elevates things. 'The Chaos Of Silence' is an intense opener with loopy bells and dark bass, 'Sequential' sounds like a futuristic factory floor at peak production and 'Late In The Night' is classic deep space afterparty minimalism. A proper album that covers plenty of ground.
Review: Joshua Kitakaze's new album Darkness & Light for Acquit is a superb nine track record that comes on trifold clear vinyl. It runs the gamut from pure, dark and driving Detroit style techno to more other and astral electronics, cosmic sounds and bubbling house. The likes of 'Seven Samurai' brings crisp drums and rubbery basslines to future facing synths. 'Hidden Fortress' has a dark edge and more menace in the drums. 'Trying To Come Home' is a lighter vibe with its head up in the stars and day dreaming. A complete work, then.
Review: Layer is the new label from Berlin techno favourite Berghain for the music released by its residents. Ben Klock is one of the most celebrated of those and here he links up with Fadi Mohem for an album that eschews his famous techno sounds in favour of a new blend of IDM, ambient and experimental sounds. 'Layer One' comes on double vinyl and opens with 'Ultimate (feat Coby Set)' which is an atmospheric opener with icy synths and sparse landscapes, then 'Escape Valley' explores kinetic rhythms and glitchy synths, 'The Vanishing' is another exploration of a distant corner of the cosmos and 'The Machine' brings more cinematic and evocative electronic designs.
Review: Berghain young gun Max Kobosil gives us his debut album. We Grow They Decline is surprisingly more restrained than you'd expect from Kobosil given his reputation as a DJ and of course those pretty fierce EPs he released previously on MDR and Unterton. Most tracks on here are slower, deeper and reflective takes on the techno sound and show a sense of maturity in this emerging talent's studio prowess. Highlights include the sombre and vertigo inducing slow-groove of "Reflection", the avant garde tribalism of "The Exploring Mountain" and the throbbing EBM crossover of "The Living Ritual".
Review: Globe-trotting Kompakt regular Kolsch has taken time out of his schedule to deliver a non-stop mix of previously unheard material for Fabric. The album was inspired by the German producer's hectic touring schedule, with each of the tracks named after a particular flight taken to or from a gig. Musically, it's a fluid and evocative journey, with Kolsch moving from spacious and dubbed-out electronica to more hypnotic, forthright club fare via a variety of off-kilter techno and dancefloor IDM cuts rich in tuneful motifs, sun-kissed electronic melodies, spacey sounds, soft-touch beats and heady aural textures. It's beautifully paced, with each track sounding just as good at home as it would in the club.
Review: You might say the clue is in the name, but as well as bearing a nice selection of differently cut beat action, this double album from French/Syrian producer Ahmad Qatrami aka Konalgad on New York's Dance Data label, is also a nicely cerebral affair jammed with celestial adventures for mind as well as feet. It refuses to get stuck in any stylistic rut, from the cloud-like ambience of 'REM' to the brooding bass and dubby stepping of 'Subzero Experiment' and the simmering shimmer of 'Dots To Dots', half digi-dub thump and half subtly filtered junglist trimmings, it keeps on giving something new right to the end. Konalgad apparently translates as "the universe of tomorrow" in Arabic, and this artist definitely has a bright future to match his already quite impressive track record.
Review: You still won't find a more perfect electro album than Kraftwerk's Computer World, and it was the album that pretty much invented the style. That much is clear from this fresh 2020 reissue, which presents the iconic 1981 set on translucent yellow vinyl, accompanied by a slick booklet of fitting Kraftwerkian imagery. While 'Computer World', 'Pocket Calculator' and 'Computer Love' are near perfect electro-pop songs, it's the sheer heaviness and funkiness of the B-boy friendly beats on 'Home Computer', 'It's More Fun To Compute' and, most famously, 'Numbers' that make it such an essential. Put simply, Computer World still sounds like the future.
Review: To our ears, 1975's Radioactivity is Kraftwerk's most ghostly and otherworldly album. It was famously their first set made entirely with electronic instruments - some home-made - and now sounds like a bridge between the more krautrock-style hypnotism of the earlier Autobahn and the slicker, more tuneful albums that followed it. In other words, it's as weird, alien and otherworldly as it is ground-breaking and pop-leaning. This 2020 reissue is well worth picking up, not least because it comes pressed on translucent yellow vinyl and comes accompanied by a glossy, 16-page booklet full of iconic Kraftwerk images.
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