Thursday, 03 September
*THE seminal Techno album re-issued, Vinyl comes with a free copy of the CD!* This album is one of the most cherished and influential pieces of electronic music ever. Upon its release in 1994 it sounded like little that had come before it, taking the first wave influences of tracky Chicago boxjams and Detroit funk-finesse before gutting them and fitting them out with a shiny new Detroit motor that clicked and whirred with a well tuned German efficiency but funked like an Afro-American. Henrik Schwarz's recent 'Grandfather Paradox' mix sets Hood's classic 'Minus' alongside other le… Read more
Helena Hauff executes a strong 2nd album of one-take machine workouts ranging from icy, beat-less moments to hi-NRG and darkwave pop with 'Discreet Desires' for Werk Discs/Ninja Tune. Arriving 6 months after her very limited debut, 'A Tape', by contrast this effort is a far more polished and organised affair, but still with the requisite amounta muck under her talons' chipped lacquer. It offers ten tracks, each improvised and recorded at her bedroom studio in Hamburg and tested on the road between her countless international DJ gigs and closer to home at Golden Püdel. In a marked diffe… Read more
Filthy dirty Wreck 'N Roll manoeuvres from Shit & Shine, romping loose on Editions Mego. In Craig Clouse's 3rd album in this guise of 2015 his voracious appetite for fugged-up noise and terminated techno-funk is barely harnessed in 12 buck wild parts razzing out from shredded breakbeat blisters of 'Signal Failure' thru the nine minutes of roto-techno jack in 'Wespennest' to the hard-stepping diamond, 'Working On My Fitness' and rapid-fire flurries of bit-crushed drums in 'Ass'. It's not all helter skelter though; there are a handful of slow-jams which break the pace nicely, su… Read more
White Material's Berlin-based co-founder DJ Richard serves a smart debut album of low-slung, shadowy house on Hamburg's Dial imprint. The follow-up to his early WM 12"'s and remixes for Radioslave and Dan Bodan takes inspiration from those odd spaces between nature and manmade landscapes and works quite a few shades darker than the usual Dial sound whilst neatly fitting in with their low-key and mesmerising aesthetic. It's perhaps best considered as a very coherent album suite exploring the more personal, meditative facets of his sound; vacillating night-vision synth strokes with sluggish effective… Read more
Skudge emerges for the 1st time in 2015 with two precision-tooled techno aces. With 'Hunted' he takes all the time he needs to stalk dancefloor prey, modulating massive round kick/subs with furtive drones from dense pressure into more open, rolling space reminding of early Berghain styles by Dettmann & Klock. On the other hand, 'Timing' is more urgent, pensive nagged by squirting acid lines and stabs with kicks that demand you put your back into it.
Quartet of raw and cranky dancefloor killers by the prolific Willie Burns on Juju & Jordash's label. We're not sure what he was ingesting before making this record but it's certainly had some heavy effect, pushing the parameters of his sound into wigged out new shapes ranging from the rushy electro-kosmiche vectors of 'Doesn't Feel Right' thru the Foetus-meets-Powell flex of '2nd Try', and on to the unquantised roil of 'Single Life', and 'Still Waters'' synthesised rain dance.
Wicked ruffneck L.I.E.S. kickers from a new name to the cause, B. Werner a.k.a. M/R. Following suit from his 12"s for Great Circles and Details Sound, ;'Let That Shit Breathe' yields four tracks wallowing in septic acid pools, jacking from the murky title cut to the dubbed dimensions of 'Just Say No' to grumbling electro-acid in 'Slinky Kids' and the bruised slow techno jam, 'Coconut Jar'.
**Hand-stamped jacket** Edward does his raw but sophisticated house thing with breezy style for Giegling. With deft mixing trickery he stokes a light-headed, skippy effect in the filtered lattice of 'Open' beside the airy melodic structures of 'Birds', weaving shimmering pastoral guitars around what sounds like distant, room recorded industrial drum loops. Quite SAW II sounding, actually. Flipside, he pulls the mix into sharper focus with the scissoring drums and patina of samples washed around the spherical 'Do It', finally adding some physical bass frequencies with the rolling double bass line and dreamy swing of 'She Says'.
**Limited white vinyl 12"** Rrose serves the DJs and dancers what they want with another descent into deepest experimental techno zones. Following a fallow few years, this has been a productive annum for the masked producer from the American West Coast, pursuing the esoteric exercise of 'Having Never Written A Note For Percussion', and the danceflkoor drills of 'For Acquantice' with five tracks purified and uncannily hypnotic number scanning slow techno in 'Adrift' along with the screwball bleep techno of 'Purge' and bloody minded abstraction of 'Curl'.
Perc undertakes his 1st solo mission of 2015 with the raging techno of 'Gob'. The title track pummels thee to a pulp with spring-loaded kicks and cattle-prod EBM percussion going ratchet on the A-side whilst 'Gruel' executes noisier EBm techno functions on the flip beside the masticating torque of 'Change To Win'.
Wigged-out Chicago house in effect from two insane sonic visionaries, Deviere & Jamal Moss, aka The Angel Race. 'The FutureShock Disco' creams chaotic jack juice over the A-side; 'K-Hole Boogie' splatters dizzy synthlines on a mucky buck.
Detroit Swindle and Krystal Klear on the case for remixes of SDJ's 'Friends EP' thru Drrick Carter and Luke Solomon's Classic label. The former tempers 'Friends' to a ruddy acid groove, whilst he latter reduces and packs out 'Beautiful' with rolling subs and sharpened synthlines for the bigger rooms.
Seminal house business right here, remasterd and reissued for 2015. The A-side's title track is a stone cold acid classic; B-side features the floating chords and ricochet rimshots of 'Life Goes One', and walloping video clash styles of his legendary 'Magic Feet'.
Healthy 2nd LP helping of mellow house and boogie by Manchester producer, (Garth) BE. Operating at the lean but lush end of the soul spectrum, 'Hipnotony' is a fine study in deep house music and its component parts, collecting 11 original productions gilded with well-dug samples and blessed with a laidback, easy approach to the 'floor. Initially, the choice of 11 cuts on one LP might seem a disservice to some of the club-ready cuts, but spending a little time with it will reveal it was the right choice as the session unfolds with ripe home listening potential between the slow-mo downst… Read more
Maison Sky mark up a breezy, kicking debut on Breach's Naked Naked label. Much like their 2014 debut 12" and remix of Route '94's 'My Love', both cuts are dominated by big kicks, and offset with sweeter, droning electronics and keys tucked for the London posse and festival ravers.
Nor'Easterly industrial pressure systems from Michael Hann a.k.a Marreck (and Rejections) on the label wing of NTS radio show, Alien Jams. 'Yuda' yields five tracks/constructions of uncompromising techno/drone form steadily increasing along the Beaufort scale from the chromatic warp and sullen throb of 'Uco' thru rubbled bass disturbance and panic signals of 'Prakoso', to culminate in the torrential tech-noise of 'Rama'.
**Hand-stamped, transparent green wax** Stentorian jackers pressure from Russia. Kovyazin D follows a coupla bangers for Chiwax with an almighty slammer named 'The Iron Jack', landing like the illegitimate offspring of Gesloten Cirkel and Bam Bam on the A-side, whilst B-side goes deeper with the stately chords and grubbing groove of 'Destiny', plus the rimshot-tickling romance of 'Uralmash Buildings'.
Regal returns to Nina's 'Ghetto Kraviz' with a slick pair of acid and dub reworks. A-side, he re-calibrates the ruder buck of the original with driving 303 ballistics and razor-cut hi-hats. B-side, he reduces the same elements to a effortless steppers techno momentum for 5am bodies in motion.
Fresh minimal techno kinks from Newcastle's Cleer Consortium and pals. Leading on from their well-received debut, they cycle four trim cuts taking in the robust ballast of 'Liquid Debris' with Ruthit and the darkside triplet shuffle of 'Sliding Door' with Jason Wright on the front, backed with the clipped and sub-heavy swing of 'Life Line' featuring Steve Legget, and the Plastkman-aping acid of 'Panic Attack' with Matthew Sogorski. No nonsense tackle.
Scuzzy techno wonk from source - Jerome Hill's Don't Records. Martyn Hare corrals three claggy, gurning monsters between the churning pressure of 'Zero Tolerance' and the spannered EBM techno slammer 'The Future of Everything', whilst Paul Birken harnesses the latter to a rotund kick drum on the remix.
Berlin-based Dax J returns to his London-rooted label with a full bar of techno and rave bangers. Hitting the ground running with the momentum of 'Babylon', he unleashes the acid in 'Kill False Prophets' before rolling deeper with the tormented pressure of 'Temples of Messiah', and chucking all manner of rave breaks, spin-backs and febrile crowd noise on the 4/4 rave rampage, 'Utopia'.
Pearson Sound launches a self-titled imprint with the sought-after 'Untitled' backed with an exclusive new cut, 'Footloose'. The tightly coiled drums and inflated subs of the former have become something of an anthem ever since it was premiered on The Boiler Room. Flipside 'Footloose' steps back into a B-More sound, chopping up tidy breakbeats over booming bass with a tracky restraint, and it will only appear on this physical format (no digital) for those that need it.
Thursday, 27 August
Outstanding dub-techno-skronk mutations from Beatrice Dillon, furnishing Where To Now? with her 2nd solo release after a string of acclaimed mixes and collaborations. With 'Face A/B' she pursues the more dubbed-out and technoid angles of the 'Blues Dance' session into crankier, stranger corners of the echo chamber in her own sort of uchronic parallel dimensions. 'Face A' is fired for the 'floor with her patented mix of tactility and abstraction, swirling Verity Susman's salty sax bleats around a stepping M-series dub base and swarming electronics with hypnotic sleight of hand and gyroscopic… Read more
**Hand-stamped white label.** Back to bang, Jamal Moss unleashes a restored reissue of his I.B.M. romper, 'Kill Bill' on 1-sided wax. Ten years ago this record knocked our Donnay socks off and we can safely say that the title cut has lost none of its psychotomimetic power in the meantime. This is straight essential Jamal Moss business, ya heard?!
Superb, charming EP of wistful and dreamy house fuzz, fresh outta Belgium. Working in orbit of Dresvn and the Acido crew or Pye Corner Audio, he swills wet electronics and pink-hued, gaseous pads in the Mr Soft swagger of 'Floor' and cuts deeper with the rounded yet scratchy groove called 'Liquide' that's loaded with lush, breathy synth voices. 'Pollution' is a delightfully coy and effervescent bit of ambient house, and 'Story' brings this chapter to a close with wheezing electronics and Crépuscular guitar strums. Tip!
Three hard-nosed pounders and an ambient aside from the Argentinian producer. Worth it for the brain-eating EBM techno slam of 'Khaa' alone.
**White label with RISO printed 120g paper inlay. Limited edition** Buggin' raw psych-house from Germany's Heartplay. Both sides were captured live and direct to L/R on an old used cassette tape, yielding two cranky yet elegant analog jams soused in ferric noise. Fans of L.I.E.S., Antinote, Greg Beato - listen up.
Afro-rhythmic techno-house from one of Huntleys + Palmers dopest new discoveries. His 2nd EP, 'x0x' pursues 2014's 'Tumble' with keener production detail and percussive bite explored in two killer, titular parts coming off like Gqom done by patten or Roska meeting T++, whilst 'Ribbon' jams down on dubbed out and sweetly distorted rhythmelodies beside the cyber-tribal bounce of 'LOA' and the sub-aquatic 'floor warping 'St. Clear'. Tip!!
L.A.-based Brazilian producer Jesse Pimenta a.k.a Dreams with a trio of tuffened club constructions for his own label, Private Selection Records. Up front, 'Energy' and 'Twisted Karma' bring a percussive pressure recalling work from Tessela, Randomer or The Zenker Brothers, but the B-side is a different beast altogether, twysting-a-belly with a grinding, mutant techno torque.