Review: Carl Finlow, aka electro main-man Silicon Scally, originally released the Boot Loop EP on Billy Nasty's Electrix label back in 2013 - an aeon ago in real terms but a blink of an eye to any electro devotee. Such is the quality of the music that it's well deserving of a repress, not least given the fearsome appetite for this kind of electro now compared to seven years ago. "Conduit" and "Hashtag" are quintessential Finlow cuts, wriggling and writhing with snappy sound design riveted to the machine funk rhythm section. On the flip, Volsoc's "Orange Problem" mix of "Conduit" slips a few more melodic elements into the mix, and Radioactive Man flips "Hashtag" into a gnarly, noisy workout bowling in from leftfield.
Review: When Eric Prydz fancies offering up some forthright, warehouse-ready techno, he fires up the Mouseville label and dons the Cirez D alias. Clearly, he's in a rave-igniting mood right now, because this two-tracker is the first Cirez D outing - and Mouseville release - for almost two years. There's a definite "massive room" vibe emerging from A-side "Valborg", where decidedly foreboding lead lines and ghostly chords ride a chunky, Drumcode-friendly techno beat. The saucer-eyed, hands-aloft "festival techno" feel continues on flipside "The Raid", which cleverly peppers a house-tempo rhythm track with the sort of raw, razor-sharp riffs more often found in neo-trance productions.
Review: Brawther's Negentropy label has already carried gold star material from Ron Obvious and the man himself, and now it's the turn of debutant producer Zweizig to show off his wares. This assured 12" leads in with the ambient intro "Gewissen" before the crisp minimal funk of "Rhythm Tension" kicks in with its shimmering and shuddering sound design pinging around the dexterous beat. "Zephyr" is a smoky affair with a snappy broken beat and lots of subtle organic matter writhing in the middle distance. "Rehash Repeat" takes things deep and dubby to complete the set, all mellow hiccupping rhythm accents and hazy melodic phrases.
Review: With previous releases from some of the top heads of the electronic spectrum, including Leif, Steevio, Arnaldo and more, the imprint UntilMyHeartStops returns with its latest release, this time for mysterious producer Ekeko. Rich analog tape waves sit nicely beside thick 909 rhythmic elements throughout this killer three tracker. The title track "Beyond Good & Evil" starts things of with strong spirit, taking pulsations of warping synths and balancing them with hazy club driven patterns. This theme continues through "FM Joy" and "Eye Ache" but with a wider focus on the dubbier elements of the electro and house spectrum.
Review: REPRESS ALERT: Needs is back with its fifth installment of charity-raising goodness from some seriously quality producers. This time the gauntlet is thrown down by the increasingly prolific DJ Normal 4, who wields some of his signature breakbeats over a cheeky synth that nods to Da Hool for a dark and deadly roller. Israeli duo Red Axes pop up fresh from outings on !K7 and Phantasy Sound for the worldly percussion and mystical atmosphere of "Treacksheni" before Bristol bass-wielding techno titan Hodge finishes the package off with the stunning, dramatic undulations of "Signal," making this a collection of tracks that all feed into the same vein of rhythmically adventurous, moody club music.
Review: For his first outing of 2020, Kyle Hall returns to the label he founded last year, Forget The Clock, with a suitably strong five-track missive. Check first languid opener "Shark", a splash around in crystal clear waters where simmering chords, luscious pads and glassy-eyed melodic motifs stretch out over bubbly, Latin-tinged drum machine beats and a dubby bassline. Hall makes bolder strides towards the dancefloor on lo-fi house cut "Vexed", before doffing a cap to Larry Heard and Ron Trent on the gorgeous deep house positivity of "Distant". Elsewhere, "Slam Deep" joins the dots between Steve Poindexter and the 2000 Black style of jazzy broken beat, while "Channel & Transmission" is a skewed skip through wonky deep house/jazz-funk fusion.
Review: In line with the timely reappraisal of all things R&S related, the resurgent Apollo have seen the opportunity to bring one of their most celebrated records back for another round. Aphex Twin's ambient recordings mature magnificently with age, sounding ever richer and more emotive as the rest of electronic music continues to play catch up all around. From the gentle breakbeats of "Xtal" to the aquatic techno lure of "Tha", the airy rave of "Pulsewidth" to the heartwrenching composition of "Ageispolis", every track is a perennial example of how far ambient techno could reach even back then. It's just that no-one quite had the arm-span of Richard D. James.
Review: The heat just keeps coming from the EYA camp as they swiftly follow up LONEWOLF 003 with this crucial care package from Kiev's Zolaa. Moody atmospheres abound on the stripped and stalking electro opener "Silver Needle, Golden Pain" before giving way to the decidedly cheekier acid snapper "Noctivagant". "Horiy Spokiy" broadens the remit of the record too, taking on a widescreen sound that takes in rich layers of melodic counterpoint to create a vivid soundscape that still kicks in all the right places. Then Etienne drops in a remix for the B2 which shakes things up with some breezy, feel good chords to counteract the punchy thrust of the drums.
Review: To mark the 50th release on his now 20-year-old Neroli imprint, head honcho Volcov has asked friends and label artists to deliver "heart-warming melodies and atmospheric songs" that in some way draw inspiration from the Brian Eno piece after which the label was named. It's a neat idea and one that has resulted in a string of superb pieces, many of which sit somewhere between ambient, new age and the "Fourth World" work of Jon Hassell. Highlights include - but are no way limited to - the eyes-closed jazz guitar solos and deep space electronics of Gerald Mitchell, Volcov and Pirahnahead's "Snow", the sun-bright bliss of Patrice Scott's "Untitled", the fretless bass-sporting cinematic rush of Kirk Degiorgio's "Leave Everything Behind" and the ultra-deep liquid techno that is Fred P's "Star Crossed".
Review: Earlier this year, Jeff Mills decided to don his occasional Millsart alias for the first time in 17 years, in order to release the fifth volume in the long-running "Every Dog Has Its Day" series. The Motor City stalwart is obviously in a rich vein of form, because he's now ready to serve up volume six, which at nine tracks deep is the series' most expansive release to date. There's much to set the pulse racing throughout, from the hybrid deep house/Detroit techno warmth of opener "Phoenix Rising" and the summery, sun-kissed tech-jazz of "What's So Funny", to the Robert Hood style Motor City minimalism of "Six By Six By Nine" and the classic, sci-fi-fired futurism of "World Wide Whoops".
Review: Transparent Sound label boss Orson Bramley steps up to his long-standing imprint with a new guise, Empty Orchestra, which showcases yet more of his crafty, delicately executed take on electro. "Nervouse Smile" is an impeccable study of the style, loaded with intricate machine funk elements from twitchy drum programming to ethereal pads, and of course a healthy dose of funk for good measure. As well as the original version, there are additional remixes courtesy of rising stars Acidulant and Alero May, the latter of which has an especially infectious bassline ripple and some smart key change moments for a dynamic end result.
Review: Original music from Vancouver based producer NAP has been intermittent on the electronic music scene, but now the Isla boss has finally dropped a 12" of deadly, textured and fresh-sounding electro for our bodies and minds. "Transhumano" features ZDBT and has all the hallmarks of Stingray-friendly future shock machine funk, but the particular approach to pads and melodies has a distinctive, moody slant that chimes with the hazy sound of Canada's West Coast. "Anestesia General" is another needlepoint, uptempo workout that packs layer up on layer of darting rhythms and blippy synth lines into the mix. "Sin Sistema" completes the set with a more subdued but no less detailed box jam workout.
Review: ZamZam Sounds has been killing it of late, with Rider Shafique, Ishan Sound and Kahn's recent "When Shall We Rise" single arguably being one of their most potent releases yet. Here they continue that fine run of form via another must-check "45", this time via the artist formerly known as Deadboy, Al Wooton. A-side "Request" offers a deliciously contemporary take on steppers/dub fusion, with ricocheting electronics, humid aural textures and echoing vocal snippets jumping around above a killer bassline and bustling drums. He continues on a similar theme with "Philo", which is the kind of weighty, club-ready dub excursion that would sit well in many house and techno sets.
Review: Seminal reissue alert! Baby Ford had already been a chart-baiting acid house superstar by the time he launched the PAL SL label in 1996. He'd left behind the major label scene and moved firmly back into the underground with exploratory techno releases on Ifach and collaborations with Mark Broom. This new label marked a shift for Ford though, setting him up for the trips into minimalist club tracks that have been his bread and butter for decades now. From the machine soul trysts of "Slow Hand" to the woozy techno thrust of "Tall For His Height" and the atmospheric house wriggle of "Kez", this release is a classic through and through. Beat the sharks and nab a copy of this long out-of-print gem.
Review: Electro titan Zeta Reticula, otherwise known as Slovenian hero Umek, is back with another salvo of heavy-hitting belters for your bag. "Digital Card" is a highly strung workout loaded with searing lead lines to stir up all kinds of intense emotions, which Exzakt and BFX rework into a bleep laden, low-blowing machine funk fest. "Endless Clue" finds Reticula amping up the dystopian theatrics even harder, while "Message In Code" takes a leaner approach with a mean tempered low-end synth and some gnarly acid to get you freakin' in all the right ways.
Review: After making a splash with releases on Twig and Lumbago, Raphael Beneluz brings his classy machine music to Cartulis with the P 12". Things get off to a pumped-up start with the dynamic, detailed thrust of "Xzomet" before the night draws in around the tastefully creepy workout "Darkanethesie". "Hostile Planet" opens up the B-side with more eerie atmospheres and stout box jam beats, and then "System Down" completes the package with another thumping tapestry of nervy acid and old-skool jack. For all the familiar touches, this is music dripping with personality and attitude, bottom-heavy and sure to devastation in the dance, real or virtual.
Review: Bochum Welt's 2019 album "Seafire" was arguably one of the strongest full-length sets that Central Processing Unit has released to date, which given the Sheffield-based label's track record is high praise indeed. This EP offers fresh interpretations of some of the album's many highlights. First up is a perfectly pitched radio edit of "More Light" a gorgeous slice of IDM bliss that recalls the halcyon days of Boards of Canada, which is later given a slightly chunkier - but no less beautiful - treatment by EOD and a bustling, club-ready electro re-fix, complete with Yorkshire bleeps, by veteran DJ/producer James Zabeila. Elsewhere, the ambient mix of "G1" is as luscious and blissful as you'd expect, while Teflon Tel Aviv's revision of "Color Me" is opaque, sun-kissed and more than a little spaced-out.
Review: The resurgent Transparent Sound outfit (made up of UK electro veterans Orson Bramley and Martin Brown) have been riding high since their classic "Punk Motherfucker" got picked up for a reissue from Pressure Traxx, finding favour with the Club der Visionaere set. They're back on their own label with a rich and plentiful EP loaded with robotic box jams, leading in with the dark and seductive body popping beatdown "What Is Your Name?". The vocal mix is killer, but there's also the added bonus of an instrumental take for those who prefer a pure machine sound. Acidulant also steps up with a blinding remix that does a great service to the original, threading some seriously nasty synth wriggles and wobbles into the mix.
Review: "Following up on the excellent 'Stabbed in Konya' EP for Peur Bleue, SORN welcomes Gohan to the fold. Three tracks of dystopian techno for the heads, plus a Boddika-esque remix from newcomers Ikpathua & Paterson. Recommended."
Review: 'The Man-Machine' is closer to the sound and style that would define early new wave electro-pop. Less minimalistic in its arrangements and more complex and danceable in its underlying rhythms. Like its predecessor, 'Trans-Europe Express', there is the feel of a divided concept album, with some songs devoted to science fiction-esque links between humans and technology, often with electronically processed vocals ("The Robots," "Spacelab," and the title track); others take the glamour of urbanization as their subject ("Neon Lights" and "Metropolis"). Plus, there's "The Model," a character sketch that falls under the latter category but takes a more cynical view of the title character's glamorous lifestyle. More pop-oriented than any of their previous work, the sound of 'The Man-Machine' in particular among Kraftwerk's oeuvre had a tremendous impact on the cold, robotic synth pop of artists like Gary Numan, as well as Britain's later new-romantic movement.
Review: Fabrice Lig on DJ Bone's Subject Detroit label backed with killer remixes from Aaron Carl and DJ Bone! Allegedly stored in the Subject archives for some time, "Hmong Dignity" is finally unleashed and the original will be familiar to anyone that's witnessed a DJ Bone set in recent years. Eminently raw, but filled with melody thanks to those chords and restless riffs, "Hmong Dignity" is a fine example of how Detroit influenced European techno. A remix from the late, great Aaron Carl opens the B Side, lending the track a familiar dose of murkiness thanks to some stomach churning bass, whilst that instantly recognisable central melody is wisely retained. The accompanying remix from DJ Bone glides along on a tough techno meets electro vibe, superbly slicing up the melodic element to form an entirely different refrain.
Review: From his appearances on Aesthetic Audio and Ornate through to his own Atmospheric Existence label, Miles Sagnia continues to be one of the best kept secrets of British deep techno, and that's no more apparent than on this stunning release for Common Dreams. There's a looped up insistence to "Heal", but it's offset by emotive movement in the synth lines and an overall spiritual quality that escapes much cyclical techno. "Plight" takes a slightly slower path, amping up the early UK electronica tones for an immersive experience shaped out by interlocking rhythms and snaking melodies. It's a truly classy statement that stays true to techno while saying something original.
Review: Given The Primitive Painter would go on to become Alter Ego it should come as no surprise to anyone that this self titled debut from 1994 still sounds incredibly polished, and manages to hit a multitude of electronic notes in one very impressive swoop - some melancholic, some otherworldly, others punchy and direct. Re-releases like this are enough to convince even the most cynical first-pressing militants of the value in re-releasing. Why shouldn't a new generation of heads be won over by the beautiful acid ravescape painted by 'A Pagan Place', the slamming toybox percussion of 'Click Song', the emotionally charged euphoric downtempo joy of appropriately-titled 'Hope' or the retro futurism of electro-stepper 'Levitation'? As essential today as it would have been 25 years ago.
Review: Three years in, Blackhall & Bookless' Jaunt label is becoming a serious force for forward thinking, fractured techno exploration. On this split EP with Chad, the duo take the A-side and present two different versions of "Links". The "Battle rework" is a tense and dramatic tumble through dub techno soundscapes, while the "Bleak remix" pares the elements down to a more focused, minimalist thrum. Chad presents a wholly different vibe on the flip, using rich, warm synthesiser tones to draw you in to "Afters", and then Scenery regular ASOK takes up remix duties on the track with an immersive version that borders on breakbeat.
Review: Miles Sagnia has a deep-rooted backstory in the UK underground techno scene. Under his own name and as Miles Atmospheric he's produced consistently compelling techno for labels like Finale Sessions, FireScope, Aesthetic Audio and Applied Rhythmic Technology. Such associations point to the soundworld Sagnia inhabits - a harmonically balanced strain of deep-diving brain food that favours expressive musicality and inventive programming over rigid functionality. Having previously appeared as Miles Sagnia on Ornate back in 2010, he returns to the label as Miles Atmospheric with three cuts that explore melancholic moods through artful interplay between beautifully rendered synth tones and intricate drum machine excursions. These tracks still move with purpose and presence, but the end goal is more cerebral than physical - a perfect fit for the immersive experiences Ornate has always strived to promote.
Review: Charitable acts carry more significance than ever right now, and Needs are on hand with another instalment in their brilliantly curated series to give something to those in need while also presenting some wonderful, exclusive music. This one leads in with a truly uplifting blast of sunshine from Telephones before dropping into the edgy, swinging tech-funk of Ciel's "Faye Wong Plays The Strings". Al Wootton is on point with another of his fresh and dynamic twists on the soundsystem blueprint, with a dubby, percussive vibe that should appeal to those who miss proper dubstep. Eliphino completes the set with a squashed and feverish garage thumper that sounds like it has an iconic vocalist chopped up somewhere in the signal chain.
Review: The mysterious Wilson Phoenix returns with another batch of muscular techno joints that'll wipe the floor with any half-hearted 4/4 pretenders. Considering how sought after his earlier releases are, don't expect this to hang around for long. The beastly 909 kicks on "Dorphin" would slot in perfectly with Head Front Panel's own blown out take on peak time rabble rousing techno, while the kick-clap sync on "Dexed" will get fists a-shaking. It's not all blunt drums though - there's plenty of peppy colour splashed all over this record to make it stand out from the crowd. This ain't no monochrome chugging business!
Review: In the world of Tone Dropout, the rave never stops. It's this wholehearted 90s-inspired retro-futurism that makes their compilation style EP releases such a good listen. This ninth volume in the series packs a punch, with highlights coming courtesy of The He-Men (the trippy acid-psychedelia of saucer-eyed early morning workout "A-Train"), the weighty Yorkshire bleep and bass-meets-Italian dream house warmth of Ascot and WW's "Marelli Bleeps", and the deliciously quirky hip-house-meets-breakbeat hardcore-meets-acid bustle of Bufo Bufo's "Ectotherm". Arguably best of all though is Dawl's sleazy, alien and off-kilter acid-electro rub "Human Experiments".
Review: There's been plenty of online chatter about the confrontational title of Omar-S's latest full-length outing, and arguably not enough focus on the music itself (or the fact that the guest list contains Rick Wilhite, Norm Talley and OB Ignitt for that matter). This is unfortunate, because as usual Alex 'Omar' Smith has hit the spot. The six untitled tracks are impressively varied, with Smith effortlessly moving between 21st century P-funk (track one), cowbell-powered deep house funk (track 2), sparse and synth-heavy acid house hypnotism (track three), disco-house jack (track four), sub-heavy Detroit-meets-Sheffield minimalism (track five) and sunrise-ready dancefloor dreaminess (track six).
Review: New York techno mainstay Reade Truth has skirted around widespread recognition with a long-standing commitment to underground techno approaches recognised by those that know as some of the best in the business. This release sees him dust down the first release on his label Path, 20 years after it originally did the business. It's high time tracks like "The Path" that get a fresh airing - the dynamic, detailed approach to drum programming and warm acid undulations sound as relevant now as they did back then. "319" is a more reflective jam that heads into emotive, moody territory that highlights the breadth in Truth's sound, before "Give Me Insanity" round things up by taking it super-deep thanks to expansive pad sweeps and shimmering hats aplenty.
Review: Itokim, aka Tendo-based producer Takuro Ito, aligns with DJ Bone's Subject Detroit label with the Subject Japan: Rhythm Poems EP and his opening gambit certainly leaves a dent. "Motechnique" has been a staple of Bone's 3 deck attacks in recent months and it will have eyebrows raised and mouths open from the off. Weighty but warm kicks start as they mean to go on, bursting with pace and vigour as thrusts and stabs pinprick the brooding chords. The laidback, easy-going connotations of the title to "Roll Up and Shine" are very much the ethos and aesthetic of the production, as a playful, bubbling melody sets a warm and almost sugary tone from the off before being bolstered by a suave melange of full-bodied kick and dexterous percussion. Itokim rounds off his first outing on Subject Detroit with "The Mood Device", a to the point groover that melds elements of the previous productions to stunning effect. A genuine builder of a track with a straight and true trajectory, "The Mood Device" melds innumerable coatings of percussion and synth as stabs are layered and layered again, clotting and coagulating the composition in to one delightfully deep and multidimensional slice of formidable dancefloor composite.
Review: Number 20 drops on Truncate and plunges us back into a world of chiseled, deadly serious techno. "Repeat" opens things up with some slowly modulating themes that teasingly evolve from veiled threat to clear and present danger. Luis Flores takes on a remix of the track that adds some industrial heft to the rhythm section and leaves a generous dose of white noise debris in its wake. "El Sonido" is a wound up jacker dreaming of peak time - a tight but swinging groove bringing the funk and end of the world interplay between the nervy synth line and the displaced vocal snippets. There's also a "No Vox" version of the track if that voice doesn't do it for you.
Review: REPRESS ALERT: After launching Brush & Broom with two solo releases, maverick German producer Kalbata keeps his followers guessing yet again with this collaborative release with the equally unpredictable Maayan Nidam. "The Town" is a surefire party starter made up of catchy bleep lines, quivering rhythmic flashes and lots of shimmering FX sends that suggest this was a live jam from two talented producers locked in the groove. "Chrome Moon" takes a deeper, more meditative approach without losing those heavy echo chamber washes, where the spring reverb and buckwild delay feedback rein supreme. Wonderful, free-tripping results from an unexpected meeting of minds.
Review: Traditionally, Darko Esser's outings as Tripeo have tended towards the hypnotic and trance inducing. It's notable, then, that his latest EP - the first Tripeo 12-inch for 18 months - mixes things up a little. "Food For Thought", for example, fixes melancholic, Convextion style musicality to crunchy, EBM-influenced techno drums, while the fuzzy, dirt-encrusted "Resist" sees the producer give deep electro an angular, lo-fi makeover. "Tuesday Blues", meanwhile, sees him stack layer upon layer of positive electronic melodies atop rubbery, Afro-house influenced techno drums before Bassiani/Horoom resident HVL rounds things off with his skittish, breakbeat-powered revision of "Food For Thought", which sounds like a giddy blast from the past despite the poignant nature of Esser's melodies.
Review: Braiden's material has been slow to come out since he first landed with a bang on Doldrums back in 2010. A turn on Rush Hour confirmed his status as a producer in command of the chops necessary to get a dancefloor shaking, but this year's X Years In London OST cassette was a chance for him to expand into more experimental pastures. Not so on this new 12" for his Off Out label, which finds Braiden turning up the heat with some fiercely modern tech house workouts. "V.O.L.A.T" has the same kind of dangerous earworm armour that made Paul Woolford's "Erotic Discourse" so potent all those years ago. "Hydroplane" meanwhile takes some of the crisp but playful tropes of Pearson Sound et al and straps them to a thrumming motorik beat.
Review: The Swedish techno hero Eric Prydz is back under the Cirez D alias, which has kicked into action full throttle recently - alongside music under the Pryda and ToNjA Holma monikers. His new main room thumper "Dare You" comes courtesy of his own esteemed imprint. From the title track and its tunnelling adventure down into the vortex, to the strobe-lit adrenaline of "The Glitch" or "Black Hole" with its druggy mid-noughties style of minimal shuffle: there's something to rock the dancefloor at any time of the morning by this A.M. expert - on Mouseville's 24th vinyl edition.
Review: For the debut of New York's anticipated Purple Trax label, a new formation of key players in Brooklyn's underground debuts with an EP sure to entrance fans of L.I.E.S., White Material, and other established NYC labels. Composed of Terekke, local DJ/producer Jan Woo, and Erez Avissar, label head and founder of the respected Weird Magic parties, Wabi Sabi's dusky and diverse sound comes from its origin in loft jams, but tracks like the closing 'Rx' with its powerful dub techno framework show the work of seasoned talents. Patricia's cameo on 'Casper' is the record's strangest sound, a propulsive house groove with explosions of crackling texture and a bassline deeply buried in fog, while 'Babi' stutters along between the drum pulse and its disappearances into deep wells of delayed vocal samples and gentle melodies. Vibes are saved for the opener 'Moon River Membrane', where Terreke's characteristic cosmic haze comes out more heavily, complemented by the genre-bending psychedelic tendencies of Avissar's programming and Woo's weighty low-end.
Review: Parisian label Lowless follow up the stellar Svarog 12" with this intriguing paddlesteam through deepest techno waters via apparent newcomer Ameeva. The mood is resolutely ambient at the front end of this album, even as the soft-hitting, blown out beats creep in on "Hidden Inertia". There's a grubby, lo-fi quality to the sounds on offer, but they're offset by the depth of composition to create an engaging sonic environment that wraps itself around you. Plenty of dub processing and a preference for languid, subtly wielded pads adds to the gauzy finish of the record,
Andrea Parker & David Morley - "After Dark" (8:51)
Review: Helena Hauff's distinctive musical vision has made her one of techno and electro's most unique and celebrated selectors, and it's this side of her work that's showcased on "Kern Volume 5: Exclusives & Rarities", a triple-vinyl set that focuses on the numerous hard-to-find and previously unreleased tracks featured on her new DJ mix for Tresor. As you'd expect the quality threshold remains thrillingly high throughout, with Hauff focusing on fuzzy and scuzzy heavyweight slabs of electro, techno, ghetto tech and industrial-strength hardcore. Amongst the unreleased highlights are tracks from Umwelt, Machino, Galaxian, L.F.T and her good self (alongside Morah), while crate diggers will note the inclusion of rarities from Esoterik, Andrea Parker and David Morley, and DJ Godfather and DJ Starkski.
Review: It's now accepted that label anniversary compilations and EPs should be stacked with high-grade cuts, preferably offered up by sizable or notable artists. Even so, there's something extra-special about this first part of Digbeth-based One Records' 10th anniversary EP series. Fittingly, it begins with a fresh cut from label stalwart Subb-an, a suitably heavy chunk of locked-in, early morning techno titled "Sunrise Mood", before continuing via the cut-up breakbeat fills, spacey electronics and warehouse-ready analogue bass of Adam Pits' "Pungent Method". Over on side B, Los Angeles-based Steve Urulu serves up the groovy, percussion-rich deep house/techno fusion of retro-futurist treat "Mollare Qualcuno", while Yamen & Eda drift their way through the deep breakbeat-house shuffle of "Last Dance".
Review: Colin McGraw's MDA Analog project continues to enjoy a renaissance after more than 20 years of silence, serving up the third instalment of vintage techno with a house-spirited warmth. "Lost But Not Broken" capitalises on some particularly soaring synths to create a uniquely uplifting flavour, while "A Theory Of Everything" takes things deeper with dubby pulses underneath an ear-snagging set of keys. "Mimico Creek" has a particularly playful arrangement marked out by nimble arps and bleeps, and "Scavenger Hunt" completes the set with a punchy rhythm section and yet more plush layers of harmonic interplay.
Review: Die Orakel's superb "0114 Series" - a trilogy of 12" singles from Frankfurt artists paying tribute to the turn-of-the-90s Bleep & Bass sound of the Steel City - concludes via a suitably bass-heavy four-tracker from Koga. It's not pure Yorkshire bleep by any means, but the untitled tracks certainly include many knowing nods to the style (think deep and weighty sub-bass, alien electronics and an intoxicating, sci-fi fired late-night mood. Interestingly, Koga's extensive use of breakbeats throughout is perhaps closer in tone to the "Bleep and Breaks" sound that sprung up in London from early 1990 onwards, though the boldness of the bass is thoroughly in keeping with the aesthetics of Warp's early Rob Gordon-mastered releases. Either way, all four cuts are superb, whether or not you're a bleep aficionado.
Review: For the sixth release on Final Chapter, Sean Dixon provides three tracks of warm and precise electronic sound complimented by a very deep and full remix from Analog Solutions label boss and director of the electronic music documentary "Beatz," Eduardo de la Calle.
Opening with Yearning and deep feel with Dixon?s trademark scattered percussion building layer by layer as the bass tones are modulated, he weaves then a complex emotion with pads and melodies. Continente takes things more towards Detroit based territory. Definite dance floor action with percussive whistles, as keys and pads seem to meld playfully throughout. Eduardo de la Calle?s take on the same track, drops things back towards the deep, with feeling of pressure and density punctuated with waves of sci-fi sound that give the feeling of being in some kind of great machine, floating in deep space. Roots of Funk provides a very danceable track using vocal samples within the music to put across a more serious idea, as synth piano?s gently echo into the distance and horns gently swell over the track.
Review: 20/20 Vision have firmly gaffa taped their flag to the electro antennae with "Exit Planet Earth", a new compilation series celebrating veterans and newcomers in the business of tweaked out machine funk. The Hacker is up first with "Positif/Negatif", a rubbery, FX-laden workout with plenty of uneasy space around the core rhythm section. 214 follows up with the decidedly creepy, sound design-embellished "Testy Robot". On the flip Reedale Rise brings something a bit livelier with the plush synth flex pinging through "Lux". Derek Carr completes the set with "The Gap", a lush slice of melancholic machine dreaming for mellower moments.