David Last - "All That's Left" (feat Lavender - dance mix) (5:51)
Review: Besides its inimitable name, Hobo Camp has had a pretty unbeatable first few years in the game, switching up the electro sound with shades of loopy house and techno. These guys have released over two dozen EPs since 2016, and are showing no signs of stopping if this new collaborative release is anything to by! Pumping the vibes through with utter ease, Run The Length Of Your Wilderness is a daring, rip-roaring amalgamation of tech-driven sounds that span just about every quality corner of the game. "The Industrial City", from Cherushii, moans and weeps with a fragile acid bassline over broken percussion beats, while Nackt's "Next" floats at a house tempo, driven forwards by a winding bass from the darkest corners of the 4/4 game. On the flip, Roche's "One For Cherushii" bigs up his counterpart with a deep, aqueous house chugger, and David Last's "All That's Left" drops a clean, sparkly prog house groover for the lovers.
Rodney - "This Isn't Something I Want Anymore" (5:09)
Noamm - "Telecommunication" (3:52)
Review: If icy, robotic club electro is your thing, we'd recommend picking up this multi-artist EP from Luke Eargoggle's Stilleben Records imprint. Cygnus kicks things off with the sleazy hustle of "Download Her", a decidedly wonky but on-point number that comes complete with Egyptian Lover style spoken word vocals, before Kuldaboli delivers a funky, weighty and stripped-back club rocker rich in twisted acid bass, mind-altering noises and robotic club beats. Over on side B, Rodney weighs in with the up-tempo deep space rumble of "This Isn't Something I Want Anymore", whose acid style bassline is funky as hell (and twice as hot), while Naoamm channels the spirit of both Kraftwerk and Drexciya on the bleep-laden heaviness of "Telecommunication".
Review: Distorted Sensory Perception is a new label emerging out of the Bristol underground to represent the deeper end of the techno and electro scene. The first release is a various artists affair that kicks off with the bold and expressive sound of rising talent Gilbert, last spotted on two excellent Innate releases. Mindless Evolving Objects takes a similar approach laden with harmonious pads and twinkling arps, while Datawave takes things in a darker direction without losing that melodic nous. Label founder Zobol has an emotive bent in his track "Scatterbrain," and Nikolay Sunak completes the set with the illustrious "Dance & Cry Baby."
Review: In some ways, And Silently Vanish Away is an odd title for an EP packed with tracks that linger long in the memory. Certainly, electro heads will appreciate the heavy 808 hits, droning bass and fluttering, deep space electronics of Exterminador's brilliant "Alien Soundscapes", not to mention the trippy, delay-laden vocal samples, warped hardware melodies and scuttling drum machine rhythms of NGLY and Exterminador's "Broken Flowers". We're big fans, too, of Hinode's bustling, razor-sharp opener "Mission4" - the kind of track that would leap out of a DJ mix and send you rushing online to find out its identity - and the fuzzy, dust-encrusted techno hum of DJ Nephil's hypnotic "Codex".
Train To Eltanin - "Amino Acid Side Chains" (4:44)
DJ Plant Texture - "Yeah Boy" (4:46)
Nothus - "Konnor 3012" (5:30)
Marco Segato - "Pirate Utopias" (live) (4:37)
Soreab - "AVP" (4:24)
Review: The XCPT Music label continues to establish itself as a go-to outlet for those who like freaky late night sounds. Like previous instalments of the Time Dance series, this various artists affair is a wild collisions of creative styles. There's the restless and kinetic techno malfunctions of "FB2THSN", deep drum patterns of "Amino Acid Side Chains" and footwork made of DJ Plant Texture's "Yeah Boy" on the first side alone. The flip goes hard and dark with the industrial bass of "Konnor 3012", frenzied electro of "Pirate Utopias" and dystopian sound-scaping that is "AVP" .
Review: In recent times, Bristol-based Banoffee Pies Records has edged further away from its disco and deep house roots towards a more forthright club sound rooted in breakbeat and UK garage. That trend continues on "Number One Slugger", the label debut from sometime Discovery and Scuffed artist Nikki Nair. He hits the ground running with "Super", a formidably sub-heavy affair that sits somewhere between electro, ghetto-tech and UKG, before reaching for the mind-altering electronics, weighty electro drums and ghetto-house style vocal samples of "Slug". In contrast, "Salt" peppers a sparse but cowbell-laden beat with echoing ragga vocal samples, while "Fidelity" wraps delay-laden metallic melodies around bustling electro beats and closing cut "Stotch" revolves around gorgeous chords and lilting, sun-speckled synthesizer melodies.
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: Jack Pattern collective member Neu Verboten is transmitting sonic metadata from the interzone, between the secret Lustpoderosa headquarters (in Zurich) and the decentralised battlefields of today's resistance. Combine old synth machines with rusty surveillance tools and you get a quartet of rough and sludgy electroid mutations. From the slow burning retro boogie of opener "Arsenic Wish", to the dystopian future bass of "CET + 666" to the euphoric acid express of "Early Bab" and the oddball exotics of "We Trance Fair" - this is Certified Euro Terror.
Review: London-based producer Nite Fleit has been busy over the past couple of years slinging out rough and ready club cuts with bags of personality on labels like Unknown To The Unknown and Planet Euphorique. Now she returns to Steel City Dance Discs, the Australian label that provided her first break back in 2018, with a new EP, with some rabble rousing rave busters that span styles, gleefully cherry picking the feistiest ingredients to make surefire bangers. "All New Low" is particularly fierce with its massive monosynth bassline grind and ear-snagging sample hooks. Elsewhere there's plenty of electro punishment waiting - don't sleep on B2 belter "Little Monsters" in that regard.
Review: With the praise for his fine "653 Miles" EP on Church still ringing in his ears, Fred Shepherd AKA No Moon returns to X-Kalay for the first time in three years. He hits the ground running with the squelchy, acid-fired electro bounce of "Programmed Reality", before heading towards deep space via the deliciously percussive, bass-heavy and alien-sounding thrills of the equally acid-laden "Aoe Rushin". Over on side B, Adam Pits re-imagines that track as a fierce slab of bassline-driven breakbeat sleaze (honestly, it's properly raw and wild), while "Set Phases To Stun" is a deliciously deep, sunrise-ready affair that explores similar sonic territory to blissful Orbital classic "Belfast".
Review: Though best known for their archival endeavours in the realm of early 80s synth pop and industrial music, Dark Entries never seen afraid to stray off compass if the mood takes them. Take this Split EP for example, which sees Josh Cheon's West Coast label travel back in time to unearth some nascent Detroit electro from Nu Sound II Crew and Magnus II. Linking both project is Sam 'DJ Maestro' Anderson, a Detroit native whose body of work has been issued on labels as diverse as Metroplex and Suge Knight's Death Row Records. This split EP gathers together tracks from both projects, with lyrical themes of outer galactic travel abounding on a set filled with primal Detroit electro energy and naivety.
Nocturnal Emissions - "Even The Good Times Are Bad (1983)" (4:33)
Innyster - "Todis" (6:08)
Review: Contort Yourself reaches its sixth installment with yet another era spanning gathering of post-punk and industrial oddities for the most deviant of dancefloors to digest. In the contemporary corner we have Penelope's Fiance, a promising industrial artist from Greece. Meanwhile on the B-side, Nigel Ayers as Nocturnal Emissions takes us back to 1983 with the utterly chilling "Demon Circuits Bloodbath" and "Even The Good Times Are Bad". L.I.E.S boss Ron Morelli steps up as U202 to remix "Even The Good Times Are Bad" as a death march of malevolent percussion.
Review: Analog Concept launched last year with a release from Clocked Devices and Strange FM, and now they're back with a various artists 12" that widens out the scope of the label and establishes some sturdy connections. Reedale Rise is a wise link to make - the UK electro producer is on searing form at the moment with his melodious, expressive style. Nullptr, also to be spotted on scene-leaders CPU, is equally firing on all cylinders with the dystopian shakedown "AT Field". Datawave takes a crafty approach to machine funk with snaking arpeggios and needlepoint drum programming on "Mercury Dawn", and Ivna Ji brings a more vintage, emotive electronica flavour to "Alpha Dial".
Review: Nachtzug (which means 'Night train' in Dutch) is a concept true to the Rotterdam Underground sound. Comprised of Norman Hecht and Stephan Glowatzky, the duo's first full-fledged double 12? album is brought to you by Freiburg's mindcolormusic. "AUX 4416" presents 'stored memories of journeys to different parameters and structures', from encounters with different places and spaces and creatures. It channels the same kind of harbour city sorrow that pervades the work of fellow locals Conforce, and hometown Italo heroes like Alden Tyrell. We are loving the slo-mo, contorted haunter "Undesired Ratio", Dopplereffekt style electro-noir on "Pyramids Of IXQS4" and "Granular Communications", the deepest of acid trips on "Magnetoloids" and that bit of neon-lit Italo ("Lazy Lazerz").
G-Force - "Feel The Force" (feat Ronnie Gee & Captain Cee) (7:23)
Tyrone Brunson - "The Smurf" (6:09)
Review: Over the years, Joey Negro has delivered compilations focusing on a wide range of styles and sub-genres, including soulful disco, Italo-house, early U.S disco-rap, and Washington D.C go-go. Now he's turned his attention to electro, the style that did more than any other to inspire Britain's first wave of DJs and dance music producers. This "personal collection" contains a mixture of stone-cold scene classics - Aleem's Leroy Burgess-fronted "Release Yourself", Hashim's scene anthem "Al Naayafiysh (The Soul)" and Dwayne Omar's P-funk influenced "This Party's Jam Packed" - alongside deeper selections such as Kosmic Light Force's brilliant - and hard to find - L.A electrofunk classic "Mysterious Waves", and The Russell Brothers thrillingly intergalactic "The Party Scene".
Review: Central Processing Unit continues their run of fine albums via a sophomore set from Noumen, a Ukrainian producer whose debut full length "Apeiron" was one of the Sheffield-based imprint's finest releases of 2017. He begins by doing his best impression of Autechre at their experimental best on "Mist", before escorting us through high-octane "Braindance" style IDM ("Hydra"), experimental D&B ("Call Of Darkness"), intense cut-up electronica ("Clinch"), wonky lo-fi workouts ("Square"), intergalactic post-dubstep soundscapes ("Spleen Tear"), and the kind of drifting, intergalactic goodness that's always been CPU's bread and butter ("Arclight").
Review: Way back in the early 90s, 4Hero legends Marc Mac and Dego took a trip to Detroit and came back inspired to try their hand at techno. The resulting 1994 album "Beyond Gravity" heralded the start of Nu Era, a project since taken on solo by Mac as he continues to explore the sweet spot between hi-tech soul of all tempos and rhythms. "Evolve" follows in that footpath and in some ways goes back to an earlier techno sound. There are splashes of electro and house, and a seriously liberal pouring of Mac's broken beat tendencies in the mix here, but like all the greatest machine music, this new album from Nu Era is more than any list of reference points. It's uplifting, spiritually charged music that seeks to scrape the stratosphere in search of new expressions.