UK techno heavyweights Karl O’Connor & James Ruskin whip out a deadly new OVR session on Downwards
Arriving 2 years since their ‘Easy Prey’ 12”, OVR’s 3rd studio release is defined by its spacious mixing and layered detail in three powerful dancers plus two handy locked grooves.
‘The World Remade’ is a proper juggernaut, rolling thru pelting percussion on 18 wheeler bassline with a pile of jazz mags on the passenger seat. It could easily go on twice as long, but there’s two locked grooves isolating the crunchy bass and gritted drums for DJs who want to properly roll out.
The B-side’s ‘Reversing Into Tomorrow’ tucks into more aerodynamic, stripped down formation, before they cuts loose with foul waves of tarry synth and noise scree in the grim roil of ‘New Departures’ - more of this, please!
Paleman joins Berlin’s youthling Zehnin label with a dark payload of rumbling techno in the wake of their releases by Lucy/Blawan and Roots In Heaven.
With signature subtlety and powerful traction, Paleman blends UK and Euro techno tropes to his own special mixture, serving heat-seeking phantom killers in the hulking rogue 2068, and clanking underwater dynamics in Searching, while the title and effect of The Peg Loosens perfectly sum up his approach to altering the mechanics of techno convention, and Slurp rolls out with properly infectious funk.
Naturally, Tresor 303 is a killer album of 8 driving acid studies by Italian maestro Donato Dozzy
On ‘Filo Loves The Acid’ Dozzy presents his first solo album since ‘The Loud Silence’ [Further Records, 2015]. But, where that album and his collaborations with Anna Caragnano, Bee Mask and Neel have tended to his experimental side, this is the first time that Dozzy has focussed on dance music for a long player, finally exploring the functions of his numerable 12”s in a broader, durational format, and with predictably immersive results..
It’s all supremely strong and slick gear, opening out with the panoramic pads and plangent tweaks of ‘Filo’ - named after his best bud, whom the album is dedicated to - before getting crafty with the slipping kicks of his ‘Vetta’ pounder and the overpronating drive of ‘Duetto’, to go hard for a late ‘90s skullhead style on ‘Nine ‘o Three’.
With ‘Back’ he brings a flavour of early ‘90s psycho-tribalist stompers, while ‘Vetta Reprise’ ramps the energy level to breakneck, and ‘TB Square’ settles its arse down to a more hypnotic swing jack, before ‘Rep’ rips out with a proper, brain-drilling riff and martial tattoo of the type you’d expect to hear in Tresor, cloaked in smoke and blinded by the strobes.
Proper, experimental techno drills from Rrose on her vital Eaux label
The kind of gear that leaves you sweaty palmed and clamming for nightfall, especially on a friday afternoon, ‘Beware of Shells’ delivers the Rrose’s first solo outing of 2018, following from her smart collaboration with Lucy.
Tilting in with the vertiginous title track of billowing synth dissonance and pulsating bass - imagine Cam Deas meets early Pan Sonic - the EP keeps us rapt between the air-ripping synths and powerful drive of ‘Incisors’, a droning death techno dirge named ’Sister (Remix)’, and the delectably dissonant nosedrip tang of ‘Pecking Order’, which, while the most minimal and abstract of the lot, is likely to endure as our favourite from this set.
Standardly grim and grizzled monotone techno from Shifted’s Avian
introducing Desroi to the nest with five stealthy cuts, at best ion the Miek Parker-esque hydraulics of Lines Of Sight, the undulating turbulence of A Glimpse of Bliss, and his steely but chattering roller Dwell In Motion.