Review: Evan Majumdar-Swift may well barely be in his twenties, but he's already built up a catalogue that any experienced producer would be proud. The Sheffield-born, Manchester-based boy wonder has previously plied his trade almost exclusively on Central Processing Unit but here makes a surprise appearance on Hypercolour. The South Yorkshireman hits the ground running with hot-stepping, bass-heavy club thumber "Party Animal", all angular low-end transmissions, hypnotic stabs and glistening IDM melodies - before pitching things down impressively on the drowsy and bittersweet "Cosied By". Elsewhere, "TBQFH" somehow is both funky and foreboding, while "Fe Symbolic" doffs a cap to Aphex Twin by wrapping blissful electronic melodies around a skittish, all-action rhythm track.
Jared Wilson - "Lynnwood2 Northgate Transit Center" (6:39)
Sohrab - "Sinking" (6:42)
KCLF - "Reloaded 9615" (4:17)
Review: Undersound Recordings hit release number 15 with a various artist EP that packs four vital techno punches. Audio Quest's "The Mental Screen" kicks off with some old school techno that recalls the sound of legendary Dutch label Djax-Up. It's filled with metallic snare sounds and deep space bleeps. Jared Wilson of course brings the acid that has defined his output for years, and Sohrab get busy with a kicking number and some busy melody patterns. KCLF closes out with twisted bass and shiny chords that look back to go forwards with "Reloaded 9615".
X2 (feat Jonny5 & Badboyblondey - DJ Swagger mix) (3:42)
Review: After guesting on such labels as E-Beamz, Natural Sciences and Who's Susan, DJ Swagger established the Goddess Music imprint late last year. Fittingly, the label's first vinyl missive features the man himself in cahoots with German mic man Caramelo. The latter delivers a weary-sounding rap over "Saft Und Wasser", a warm and spacey electro cut that's as emotive as it is energetic. DnAonDnA brilliantly re-imagine the track as a hazy chunk of spaced-out electronic dub, before sometime Chiwax, Die Orakel and Natural Sciences artist Orson Wells turns it into a deep and crunchy IDM number. There's a fine bonus too in the shape of DJ Swagger's remix of "X2", a high-octane ghetto-tech/electro number featuring a seriously squelchy bassline and vocal contributions from Jonny5 and Badboyblondey.
Review: Watch yer bassbins, Club Winston is back with another loud n' lairy bit of wub for his wickedly named UKGEORGE label. This is club pressure that's as serious as it is silly, boiling garage and rave tropes down for maximum efficiency and celebrating the limitless joy of a wobbly bassline. "Blurt" keeps things raw and direct, stomping at a nifty tempo and teasing the tension and release with the simplest of ingredients. "Reject" on the flip has a sweeter vibe, using little touches of melody to create a mellower mood but not at the expense of the all-important low end.
Review: In keeping with both her recent output and the releases of Australia's LKR Records, the latest EP from Sophie Sweetland AKA D. Tiffany is drowsy, dreamy, hallucinatory and shot through with references to both vintage ambient techno and the more psychedelic end of the '90s IDM spectrum. There's much to admire across the four tracks, from the spaced-out, mind-altering haziness of melodious, off-kilter opener "Low" - all twisted, acid-inspired synth sounds, LSD-trip electronics and skewed electro rhythms - to the chunky ambient breaks business of "Cruel Trance" and the feverish, strangely-swung quirkiness of gently pulsing IDM number "4leaf".
Review: Here we have a brand-new label and a previously unknown artist, though the word on the street is the D.A.B is a new alias of a well-regarded producer. "Night Of Tapes" is certainly an assured and quietly impressive debut, with our mystery man or woman offering up a mixture of acid-fired, retro-futurist sci-fi house ("Nats"), electro-inspired Chicago jack ("Flesh Time"), bustling rave-era techno rawness (the alien-sounding stabs, fuzzy bass and crunchy machine drums of "Corporal") and - most thrillingly of all - the kind of breakbeat-driven, riff-ready tackle that wouldn't have sounded out of place on Orbital's "Brown Album" (killer closing cut "Mooch Dance").
Review: This is the first episode of a new project under the name of "Generative Operations" a project born from a new vision and workflow at the Boris Divider studio. Delivering a minimal concept staying true to Divider's roots surrounded by contemporary elements.
Review: A sticker on the front of this 12" from Brussels-based Basic Moves proudly proclaims that 100 per cent of sales royalties will be donated to charity. It's a nice move and one that should guarantee that the record is taken even more seriously. Like much of the label's output, it boasts self-styled "outsider club music", this time from Casablanca-born DJ Booth and label co-founder Walrus. DJ Booth handles side A, first romping his way through a bleeping, intoxicating, peak-time techno club jam ("Defaulted (Industry)"), before reaching for the breakbeats, deep electronics and electro shuffle on the superb "The Door". On side B Walrus takes over. "Can't Get New Shoes" is a bubbly, acid-fired chunk of electro/techno crunchiness, while "Free City Light" is notably deeper jazzier and way more melodic.
Review: If you only ever bought DMX Krew records, you could amass a pretty sizable record collection filled with high-quality releases. The Bedford-born producer is perhaps not as prolific as he once was, but the quality of his releases has never dipped. For proof, check his latest EP, which marks his first outing in Italian imprint Club Visions. He sets the tone with "Panic Stations", a melodious, jaunty and colourful skip through funk-fuelled electro territory, before reaching for the TB-303 acid lines on the Like Vibert-ish electro/acid house fusion of "Going Back". "Alkane" is a spacey, glassy-eyed chunk of retro-futurist acid house-meets-techno action, while "Last Year's Model" is a deeper stroll through warm and playful electro territory.
Review: Libertine's 14th release is something of a beast: a double-EP from sometime My Own Jupiter Producer Do Or Die that squeezes in nine impressively varied tracks. The fast-rising producer's roots are of course in techno and electro, but he's not shy in exploring every avenue of these wide-ranging genres. For proof, compare and contrast the acid-fired, new wave-influenced bubbliness of "Galactic Bang Bang", the fast-paced acid-electro intensity of "Blackmail", the Italo-disco style throb-job "Morning To Lose", and the chiming, all-action cheeriness of quirky closing cut "Small Town Yoky 11". The rest of the double-pack maintains this interconnected eclecticism, portraying Do Or Die as a producer with a head full of ideas and an eccentric musical vision of his own.
Review: After spending much of the last few years exploring forthright, mind-altering techno sounds under his given name, Thomas P Heckmann has recently started offering up new material from his Electro Nation project - an exploration of the potential of the electro form that was most active in the 1990s. He begins his second new EP of the year (there have also been some reissues) with the sharp, squelch-along club electro buzz of "Dope Head", before beefing up the beats and reaching for minor key melodies on the intergalactic pop of "Sucker Beat". Elsewhere, Heckmann successfully wraps warehouse-ready house stabs around bustling acid bass and snappy electro drums on "Virus", while closing cut "Juicy Beast" is a Fairlight stab-sporting sprint through NYC freestyle/early '80s electro fusion.
Review: Carl Finlow, aka electro main-man Silicon Scally, originally released the Boot Loop EP on Billy Nasty's Electrix label back in 2013 - an aeon ago in real terms but a blink of an eye to any electro devotee. Such is the quality of the music that it's well deserving of a repress, not least given the fearsome appetite for this kind of electro now compared to seven years ago. "Conduit" and "Hashtag" are quintessential Finlow cuts, wriggling and writhing with snappy sound design riveted to the machine funk rhythm section. On the flip, Volsoc's "Orange Problem" mix of "Conduit" slips a few more melodic elements into the mix, and Radioactive Man flips "Hashtag" into a gnarly, noisy workout bowling in from leftfield.
Review: To launch his new "Classic Edition" series of archival releases, Freddy Fresh has mined his sought-after 1996 12" "Feelin' Mighty Fine" and offered up re-mastered versions of the three most potent tracks. A-side "Feelin' It" is typical of his work during that period, delivering a rolling, bass-heavy house cut full of bleeping lead lines, snappy drum machine snare sounds and extensive samples from a classic New York electrofunk cut. He offers up an even tougher take on the same boogie-sampling sound on B-side opener "Punched Out", peppering a slamming beat with nasty acid noises and a very familiar synth riff, while "Rockin' (The Freaky Fresh Mix)" is a big beat-era dancefloor head-nodder full of hip-hop samples and serious sub-bass.
Review: Some all-Italian electro action here, as Nicola Laporchio AKA Cosmic Garden joins forces with Lunar Orbiter Program regular CEM3340 for four tracks of intergalactic dancefloor fun. They begin with a spot of "Psychoanalysis", a veritable all-action affair in which melancholic motifs stretch out atop crunchy beats and an aggressive, Drexciyan bassline, before flitting between deeper and darker sections on the similarly forthright "31 Seconds". "Square Wave" sees them opt for a more robotic sound - think tumbling, crystalline lead lines and fizzing analogue bass - while "70100" brilliantly combines the twin attractions of off-kilter electro-funk grooves and shimmering, deep space electronics.
Review: The 7th release on BLKMARKET MUSIC comes from Samuel Jabba and is the first part of the Dystopian Future series.
Samuel Jabba is the label co-founder of a new vinyl only label called From the Void Above. Hailing from Bogota, Colombia, Samuel is a young DJ and talented producer who creates music spanning different genres of electronic music.
On his debut release for Blkmarket Music, the A side starts off with his electro track 'Acid Pleasure' on A1. The A2 track 'Space Mirage' takes you on an outer space voyage focusing on the more deeper side of techno.
The B side kicks off with his heady breakbeat track 'Robotics' on the B1. On B2, Samuel takes us on a dark journey with his minimal electro track entitled 'Random Demise.'
Review: There's a sense of dark mystery throughout this latest from Onont Kombar, which some will recall from his contributions to the 2016 mini-album, 'Split', featuring celebrated tracks such as 'The Doors'. Not quite a case of more of the same here - all three pieces feel very original - but nevertheless that steely and unnerving cold wave vibe is very much present and correct. This outing veers from suggestion to full intoxication. 'The Last Days Last Forever' sounds like a recording of a track from distance; you struggle to make out the details but together they create a powerful overall mood. Meanwhile, 'Epitaph of Ego' brings acid warbles and snares to the fore, resulting in a tune that owes much to the more Romantic side of electro and electro pop, with 'Moondust In My Eye' employing a chugging groove to give its whirring, industrial details a dash of obscure funk.
Review: Late Night Approach are no strangers to Klakson, having made their debut on Steffi's long-running electro imprint three years ago. Here they return with their first outing of 2020 - a sweaty and forthright affair that maintains a strong dancefloor focus throughout. The A-side is all about "Overbridge", an unflinchingly weighty and mind-mangling affair in the style of fellow Klakson artist Dexter that's given a buzzing, all-action, alien techno-funk makeover by Fastograph. Over on side B, the Italian twosome goes a little deeper on the bubbly, spacey and energetic "The Naus Investigation", before reaching for psychedelic acid lines, ghostly Drexciya style chords and bustling beats on paranoid closing cut "Decanaus".