Review: Boom! Finally another reissue of Boards Of Canada's seminal Hi Scores LP from 1996! Along with the likes of Aphex Twin, LFO and Squarepusher, these guys have helped to define how we see electronic music today and this particular LP is arguably their most complete when it comes to the dancefloor. The title track is a twisted, floaty bindle of breaks and beats, but it doesn't end there. Tracks like "Nlogax" are inherently Detroitian in nature thanks to the bleepy drum machines inside, and all we can say is that if you haven't laid hands on this album yet, you shouldn't miss the opportunity to cop it now. It's still so relevant and contemporary, it hurts.
Review: G.A.N.G. was a short-lived studio project from Giorgio Giordano, Giorgio Dolce and Roberto Zanetti (Savage). In 1983 they released "Incantations", a plush cosmic disco burner that rides a slow tempo but hits heavy with its rich layers of synth and slick guitar licks. Best are giving it a fresh airing with this on-point reissue, bringing the chugging bass arps back into the fold of a sympathetic scene that celebrates just this kind of evocative, sensual slow-mo party fodder. The original mix elevates in the second half with a soaring vocal from Stefania Dal Pino, but if that doesn't appeal there's a purely instrumental take on the B side that focuses purely on the groove.
Minor Forms (Joaquin Joe Claussell Cosmic Arts version) (15:21)
St Catherine & The Calm (feat Nadia Sparrow - LNS remix) (10:58)
Review: Francis Harris blew plenty of minds with his third LP, "Trivial Occupations", when it dropped last year, and now the German deep house don is revisiting two of the tracks from the record for a pair of smartly chosen remixes. On the A side, the mighty Joe Claussell presents a Cosmic Arts version of "Minor Forms" which bursts with nu jazz stylings, from the bashy drums to the wiggy synth lines pinging into the stratosphere. Switching stance pretty drastically for the B side, deep diving Canadian artist LNS takes "St Catherine & The Calm" down a rabbit hole of head-nodding meditation over the course of 11 minutes smattered with electro touches, mystical flute and more ear-snagging delights besides.
Review: Christian Loffler has been producing pensive, cinematic electronic soundscapes for a long time now. 10 years since his first EP landed, the German producer presents his third studio album on his own Ki Records label. Once again Loffler has continued to grow through the album recording process, embracing more adventurous textural and sound design practices whilst also enriching his songwriting chops. The vocal turns from Josephine Philip and Mohna help deepen the seductive melancholy of his compositions, but even in its instrumental moments the pensive synth lines sing their own heartfelt messages. If you're a fan of Jon Hopkins, Nathan Fake and other such emotionally charged electronica artists, you won't want to miss this album.
Review: It was Memorial Day Weekend 2016, and the sun shined bright over the Detroit River. Pontchartrain stepped up to the decks at the Red Bull stage at Movement Electronic Music Festival donning his infamous "Detroit vs. Itself" t-shirt. His first song through the Rane rotary mixer was a dubplate made specifically for his set: "Afterlife". It's a brilliantly executed balearic daytime disco rework that warrants the praise of summer anthem that it's earning. On the flip is "Pool", an equally sunny slomo beatdown rework from Blair French. It's a delightful blend of cerebral and soulful, and is finally getting a release after being originally championed by Peter Croce on his Le Mellotron Paris set back in early 2018.
Review: Given her remarkable rise to prominence last year, it's not that surprising to find that Katie Campbell AKA Roza Terenzi's first release of 2019 is also her most high profile yet. It sees her pop up on Dekmantel for the very first time with a spacey, synth-heavy four-tracker. There's plenty of subtle variation between tracks, too. Compare, for example, the deep space electro shuffle of "3IY", whose elastic synth bassline is particularly addictive, and the shimmering, slo-mo soundscape that is the effortlessly gorgeous "Bricks". Elsewhere, "Freak N Tweak" sees Campbell wrap rising and falling lead lines around a cyber-hip-hop beat, and "Open Me" is a sparkling, grandiose chunk of bass-heavy house/instrumental synth-pop fusion.