Skee Mask

Review: Skee Mask, who only recently was found out to be called Bryan Muller, comes through with his second LP to date, making a wonderful follow-up to 2016's Shred. Compro is, ironically, comprised of a much more explorative palette of sounds, with many corners of the album veering off into otherworldly ambient, often through a striking new-age sensibility. The most impressive element of this album is its flow and evolution across its 12 tracks, sounding a lot more like one single-minded thought rather than a collection of disparate dance-not-dance tunes. The quality of the recording is noticeable, too, with tracks like "Rev8617" or "Via Sub Mids" sounding professional, both in vision and style. Through an intricate collage of breaks, samples, polyphonies, and subtle electronic manipulations, Skee Mask has truly mastered his own art, and is giving a new direction to the wider 'UK rave' sound. BIG.

Review: Having delivered one of the strongest electronic albums of 2018, Skee Mask AKA Bryan Muller returns to action with a tightly floor-focused 12" of broken techno rhythms and UK rave-influenced workouts. A-side "Trackheadz" is suitably weighty and forthright, with Muller wrapping drowsy deep space chords, hardcore style breakbeats and orgasmic vocal snippets around sturdy techno drums. Both B-side cuts are far more mellow in tone, with Muller underpinning swelling ambient chords and blissful chill-out room melodies with skittish, early IDM style beats. As with a lot of the producer's work, the vintage influences and inspirations are obvious, but the resultant cuts still sound warm, fresh and life affirming.

Review: Munich-based mystery man, Skee Mask, remains at the top of our Ilian Tape favourites. While we love the work of brothers Dario and Marco Zenker, the two label founders, we think that this guy's sound is the creme de la creme of contemporary, dub-filtered techno. Serum and Junt were both absolute killer EPs, and the Shred album was also on our list of the best releases of 2016, so we're pretty psyched about this new single, the curiously named 2012. The opening "Kordman Return (Swing mix)" is Skee Mask up to his naughty break sampling and techno wizardry, all broken and loose, whereas "Palo Alto" sees the producer in a surprisingly sturdy, head-first mood driven by solid bursts of 4/4 and wondrous synths. Over on the B-side, "Fjorward Flex Dub" swings its mighty swarms of drums over a minimal flurry of melodies, in what feels like a sublime reinterpretation of heavy, 90s power-house; "Glass Museum" closes with a real twist thanks to an abstract, wide-eyed landscape of dissolving, jazzed-out percussion and moody ambience. Excellent material, as per usual.

Review: Last year Skee Mask put the Ilian Skee Series on hold in order to release the brilliant "Compro" album on parent label Ilian Tape. Here he presents the second undeniably dancefloor-focused ISS EP of the year - a robust and forthright floor-tracker full of what the Munich-based composer calls "unstoppable fruity brain benders". It's certainly a vibrant collection of cuts capable of setting the pulse racing, with highlights including the mind-mangling analogue electro/techno/breakbeat fusion of opener "Juug", the deep two-step techno skip of "RZZ", and the IDM influenced shuffle of "Slow Music". Arguably best of all though is the teak-tough analogue electro wonkiness of "Play Ha".

Review: Creamy Encouraging Mystical Mantras.

Review: Elegant Tap Dance Wobblers.