Review: Alex Font has many strings to his bow, not least running the excellent Acme label, and here he is on one of his other ventures, Third Stream. With improvisation placed at the forefront of the creative process, Font turns out functional club tracks with curious kinks and moments of intrigue worked into the structure. "Onda Tropical" is definitely DJ friendly with its insistent percussive framework, but there are interesting diversions, fills and edits peppered throughout. "Musica Moderna (CDS Tribute)" meanwhile rolls on a more consistent groove, with a more organic set of drums pitched right at the heart of a long and winding DJ set.
Review: Although only a few months have passed since Constant Sound was first minted, the label run by Burnski and Jon Woodall is now ready to unleash its fourth EP. Entitled Raw Moments, it features a hot original by Paolo Rocco and is backed with accomplished remixes from the legendary Nail as well as boss man Burnski.
Canadian Rocco is well known on the Montreal circuit for his broad and energetic DJ sets, whilst he has also cracked the Beatport charts with his own tunes, namely 'Move Body, Move Forward' on Klasse, as well as with follow ups on Real Tone. He impresses once again here with 'Raw Moments', a track that does exactly what it says on the tin.
The whole track is built upon rock solid kick drums that bounce and bobble about as curious bird sounds and gloopy synths dart about next to cow bells and hi hats. It's expertly lively and robust.
First to re-imagine the track is Burnski, who injects some seriously fat bass, a subtle sense of shuffle and infectiously crafted grooves laden with dub motifs and rich reverb. It's perfectly designed for no frills and non stop dancing, frankly.
Last to remix is DIY Discs man, Classic Music Company associate and all round house tastemaker Nail. His Smoke Dub is a bulky house jam with buffed metal melodies, squelchy drums and sci-fi synth sounds that is deep, stays low and is perfect for back room basements.
This label might only be on its fourth release, but already it has announced itself as a go to outlet for fans of fresh intelligent sounding house, and this release only confirms that.
Review: Argy's These Days label is an occasional treat in the world of stripped down tech house, and it makes its first appearance for 2016 with a selection of club-ready remixes from the label boss, tackling various productions from German techno mainstay Paul Brtschitsch. The "Floor Adaptation" of "Green" heads into subterranean pastures, albeit with a powerful beat propelling it, and "Eternal Aspects" maintains that underground mood with a warmer synth repertoire. On the more flamboyant B-side, "Squeezed" takes on a wild old-skool quality perfect for more fiery moments on the floor before "Subbass" continues the jacking theme in fine style.
Review: Following choice wares from tape_hiss and Pascal Viscardi, Love Notes stride into winter with a fulsome offering from lesser-known artist Subtenant, who packs just the right balance of classic acid and modernist techno into the three original tracks on this 12". "Evergreen Soul" looks set to turn heads in the club with its playful organ flex hopping around the punchy 303 notes, while "Artisanal Acid" brings some homespun hardware handiwork to the table. "Know How It Feels" drops in at a slower tempo, but it's D'Marc Cantu who steals the show with a dynamic remix of the title track loaded with detail and shot through with dub.
Review: Having largely operated on an autonomous self-release basis up to this point, Outstrip make a sturdy connection with the Dogmatik empire and serve up some of their crucial minimal house wares for all to behold. "A1" is a shimmering treat of a cut with just the right amount of colour bleeding in between the drums, while "NeproEP" strips things back to a raw, functional core. "Peremay" has an ultra-minimal, ever so slightly dubby vibe to it, while "Rastafara" keeps things as lean as possible as well. This is a record that does a sterling job of demonstrating how less can indeed be more.
Review: Doing things properly and building up a DIY phenomenon from their base in Zurich, the Les Points crew have brought a fresh, daring originality to the house and techno scene with their gritty outboard approach and a wide range of stylistic tendencies. Taking a break from releasing on their own label, Audino, Barbir, Louh and Nicola Kazimir have been invited to the evergreen Trelik to broach their music to a wider audience. From the blissful space techno groove of "Anubis" to the tightly wound beats of "Housepacer" and on to the cranky acid funk of "Ripstyle", this is yet another distinctive transmission from the plucky Swiss crew.
Review: After a quiet 2016 thus far Och's Autoreply label is finally back in action with a frankly fantastic selection of workouts from Mark Broom. In keeping with the style Broom has been exercising in new Perbec jams with Baby Ford, this is more restrained than the muscular techno Broom can also be known for. Instead, you get expressive, satisfying house tracks such as "18.2" and the neatly pumping "10" with its killer array of synths to satisfy the dancefloor and the mind in equal measure. Avoiding unnecessary fireworks in favour of perfectly chosen and shaped elements, this is a glittering demonstration of Broom's cool-headed approach in the studio.
Review: You'll normally find OdD lurking round their own self-titled label, but on this occasion they're moonlighting on SPORTS with more of that shuffling, jazzy minimal house they've made their calling card. "Little Drum" is a perfect percussive trip-out of a track, all dense layers of rhythm locking into a dreamy house swell, while "The Reload" offers a distinctly different prospect powered by driving machine beats and techy synth threads. Kamran Sadeghi turns "Little Drum" into a dynamic, dark-edged tech-house workout, and Malin Genie drops some freaky electro stylings all over "The Reload", making this a 12" with something for everyone (who likes quality house, techno and electro at least).
Review: The second of the UNTLD Protagonist Series, by Furz, savours the spirit of Alfred Tailor, an influential figure in the development of the bright young artist, whose first EP is strong and smooth, with raw energy, sultry and primal. The title track is remixed by Laurine Frost, who inspired by the South American hypnosis of the artist, takes it further, developing the dialogue and deepening the percussive structure, whilst maintaining the mystique and spirit of Alfred Tailor. The second original work on the record, entitled 'Torino Soul' is an ode to the automobile of Alfred Tailor, it opens serenely as if racing through the valleys of Cordoba's horizon, scenery rushing by on a hot day. Amidst this, the mechanical metal of the engine revolves in it place, as we are rushed forward, and the voice heard a memory both of the machine and the man, Alfred Tailor.
Review: London-based, Italian-born duo Konstress may have first appeared with the Blind Box Series in 2015, but now they're really hitting their stride with their own self-titled label. This second installment sees the pair charging out into exciting territory on the experimental fringe of the minimal techno scene. The influence of the Boogizm label weighs heavy across all these tracks as intensely detailed sound design meets with chunky basslines and snappy, electro-informed grooves. This is not party music for the conformists out there, but any mutant dancers will find it hard to resist getting their freak on to these adventurous sounds.
Review: Having regularly appeared on Junk Yard Connections and Banoffee Pies over the years, Adam Stromstedt has plenty going on, but he's also got the time and space for his own Lyssna label, and he returns with his first solo EP on the label. It's an accomplished record, mining the vibe of ambient techno and channeling it into contemporary production with soul-stirring results. "TST142" is a mellow groover with a trancey undercurrent, while "Reptile Boogie" swerves into blissed out electro for lazy days. "Green Room Therapy" places plaintive keys at the front of the mix and channels a little of Floating Points' magic, and then "Split Tongue" offers up the most overtly club-minded jam on the 12".
Review: David Gtronic kicked off the Black Wood label with the Kryptoo 12", and now Javier Carballo swiftly follows up with the immersive tones of Morning Vibe. Carballo's sound is undoubtedly rooted in the minimal house he's turned out for One Records amongst others, but he's got a distinctive edge in his productions that makes them stand out. "Morning Vibe" in particular does so well because it matches airy pads and skittering drums with a measured lick of acid, making something truly trippy in the process. "Back For Good" pairs dubby chord pulses with shuffling hats, and "Chunchuneo" gets locked into an insistent rhythmic chug that it's tough to resist.
Review: Senida, Strobelight's second release, is a reprisal by the well seasoned and acclaimed producer Ruxpin under the alias Den Nard Husher and is his first ep under the alias since his 1999 2x12 "Nard's Groove" on Thule. The diverse selections of this ep are thunderous yet warm and emotive and illustrate the styles on the NY based label Strobelight Network.
Review: After launching into Memory Box with aplomb on the deadly Acid Stomp 12", Robin Ball steps up on the London-based imprint once again with the saucy tones of his latest four track EP. "Drop It Down Low" and its accompanying dub mix are classy twists on the tech house formula that lean towards old-skool methods while keeping the sleaze factor ramped up high. "Remember" takes a more tripped out tribal approach, with the "Vibes mix" providing a more subtle twist to the warm, melodic undulations of the full fat version. It's an EP loaded with personality and flair for sophisticated dancefloors.
Review: It's been a little while since we heard from Laura Jones, but the Leeds-based producer is back in action on her own Sensoramic label with a strident EP of limber tech house excursions that highlight her continued progression as a producer. "Pathway" is a gently bouncy cut with bubbling synths coursing between the subtle swing of the beat, using vocal snippets to great effect to create a decidedly trippy atmosphere. "Tough Crowd' pushes the psychedelic approach even further with some truly wigged out tones swirling in a cut just made for eyes-closed-dancing moments. 100Hz takes on a remix of "Pathway" that uses crafty, militaristic drums and sparse treatment of the melodic and vocal elements to create a delicate, compelling alternative vision of Jones' original.
Review: After releases on Saints & Sonnets and Stay Underground, It Pays, Berlin artist Quell aligns with the MIL label for the four track Tomahawk which further cements his reputation for no-nonsense, stripped back house and techno music. "Size 7" sets the tone, a dark, underground roller with a trilling bassline and acidy bleeps that sits nicely alongside the shimmering chords and deep dubby vibes of "Monolame". On the B-side, Harhead leads with fluid percussive rhythms and sequential kick drums to give an immediate groove-intrinsic melody. The energetic, groove-led tone continues into the last track, "Where Are They Now", a Dark, techno-fused stripped back rhythm track with an acid tinged-feel.
Review: Modelmaker is a new London label from the collective minds of Dan Berkson and James What. The esteemed house duo has long been garnishing a range of international imprints with their inventive analogue house and techno sounds, but now they are focussing on their own outlet. Initially launching with a couple of self penned EPs, release number three will be the pair's long-time-in-the-making debut album, and after that a considered selection of other talents will join the ranks as the label pushes on. Always primarily focussed on machine made, texturally rich house and techno, each release will come with unique artwork based on works from What's great grandfather, Conrad Felixmuller, who was a well known German expressionist.
Review: London's Dark Sky trio have come a long way over the last three years, first appearing on the mighty 50 Weapons, then jumping on to Mister Saturday Night's catalogue, and now landing most vertically on Germany's Monkeytown - quite impressive if you ask us! The NTS Radio residents serve up "Voyages", a wonky techno side-stepper complete with tribal percussion and a distinct UK feel. Remix duties are taken care of by Francis Inferno Orchestra, who deliver a hypnotic and floor-ready version of the original, and techno God Reshape with his slithering, ultra-stripped back version. Another class act from Monkeytown camp.
Review: Italian duo Rufus and Mass_prod are back once again as Nightdrivers, shoring up to Holic Trax with more of their infectious club-ready material. Beyond the functionality of their drums, where the Nightdrivers excel is in their choice of samples and textures to add a psychoactive twist to their craft. "A Funny Thang" is a delightfully unhinged workout, while "Stressedout" does a fine job of digging into a heads down, RnB inflected groove. "Rising" switches things up with a broken beat groove that loads up sunkissed soul samples to great effect, and then the record rounds out with a dub mix of "A Funny Thang".
Review: It's early days for Jakob Panthel and his Faune alias, but he more than steps up to the plate as London label Ornate Music invite him to present his vision for immersive, techno tinged deep house. "5.34 AM" is aptly named, the undulating chord pulse at the heart of the track aiming for the woozy hour of the dance before dawn breaks through. "Reduit" is a more sprightly affair, using similar ingredients but pushing a brighter line in synths amidst the raw drums. "Grindewald" meanwhile heads out into more ambient techno territory with its plush pads and snaking arpeggios, soothing the feisty club-ready energy of the previous two tracks.
Review: Tolga Fidan is seemingly on a roll of late, but in truth he's always remained committed to his process as a refined minimal maestro. His move to Finale Sessions may seem to be a step outside his usual stomping grounds, and the sound on the EP reflects this. Whether the title Lost Tapes means this material is old or not is unclear, but there's certainly a rougher, hardware-sounding approach on this record compared to the stripped down clicks he built his name on. "SJ SX - Tape 01" is still reduced in all the right places, but it comes on like a live jam of deepest psych-out techno rather than anything overtly minimal. With warmth and personality pouring out of every bar, this is a wonderful insight into another side of a long serving and much loved producer.
Review: LA-based producer Mor Elian has already scored big releases with her two previous transmissions, landing on Prime Numbers and Hypercolour, as her reputation rises in the field of dynamic deep house music. On this turn for Finale Sessions she lays down some of her strongest work to date, amping up the dubby tendencies on "Orionids" before heading into a propulsive techno dimension on the wonderfully airy "Light Pollution". EP closer "Echo Park" meanwhile fuses a disparate spread of electronic sounds into a mechanical yet strangely inviting construction for adventurous heads to get lost in.
Review: Tomoki Tamura and Tuccillo first fired up their Doublet collaboration back in 2015, and after a brief hiatus they've reignited the project with another three delicate and dynamic excursions. "Chotto Complications" is a crafty construction that works around an electro framework, with intricate beat programming and nimble synth lines anchored by fulsome chord drops. "Big Moon" takes things into a more hypnotic headspace, using hushed tones to mark out the atmosphere around an undulating deep house groove. "Tiger Nuts (dub)" is the feistiest track on the record, using a punchy rhythm section and nagging sample daggers to create an insistent groove that will do the damage for the tech house cognoscenti.
Review: Torino label We Play The Music We Love has already made a strong start with some immersive turns by Trevor Deep Jr and Rills, and now they provide a platform for Italian duo Luminer. "Indaco" is a charged up dub techno excursion with crisp percussion to propel the classic chord shimmer that course through the centre of the track. "Canadian" takes a deeper direction with a crafty tapestry of synth flares and a more understated rhythm section. Hiver's reconstruction of "Indaco" opts for a crooked electro foundation, nimble acid line and a shapeless swell of pad tones as the key ingredients, and then Icelandic techno champ Thor whips up a sharp-strutting dub techno variation of "Canadian" that sits comfortably with the Luminer tracks.
Review: We Play The Music We Love is an Italian and Uk based party that after 7 years of activity has decided to start with its own vinyl only label. The first release comes from one of the founders and resident DJ of the collective: RILLS. He clearly stamping his mark on the label with two solid tracks to launch things with some claut.
The two original tracks, one featuring Sinderesi, explore some dubby house territory with mesmerising chords that will be appreciated on any demanding dancefloor.
The additional remix is from the producer of the moment: Samuel Andre Madsen a.k.a. S.A.M. (Oscillat, Delaphine, Mandar, Fathers and Sons).
Review: Number 7 in Music is Love's sister label MIL arrives and throws the spotlight on rising Irish producer Chris Hanna, last seen impressing for Ejeca's Exploris label. Opening proceedings on Muscle House is "Drone", a rough and distorted track that is narrated by the constant synth buzzing above the heavy groove laid down by Hanna. Complementing this, "The Colonel" maintains a peak time mood with some furiously paced drums cannoning around the mix atop a heavily sequenced bassline. Title track "Muscle House" opens the B-side, offering Hanna the chance to show off his prowess at acid lines, whilst closer "UM9" veers off into epic, emotive territory without losing any of the rugged, rhythmic physicality shown throughout the 12".
Desire (Dilated Pupils Repeat The Vocal remix) (7:26)
Review: Illusion Limited is the limited press sister label to Illusion Recordings. The label will shine light on new artists and sounds not currently represented on Illusion. The first release kicks off with the highly talented Manchester based Artist Seelie who delivers two slices of subtle, classy deep house. This EP has been a while in the making and shows a real development in Seelie's sound from classic house to deep textured and hypnotic house. BLM provides a huge remix on the A side stripping things back and letting the analogue bline and minimaistic drums create a heady, yet dancefloor track. Dilated Pupils provide a unqiue broken beat remix of the hypnotic 'Desire' on the B-side to round things off and kick off this label in style.
Review: OK EG appears from out of nowhere in a haze of the mellowest ambient techno and downtempo delights for your mind to melt into. "Creek" is a smooth but strident route in, the tidal lilt of the pads dissected by a finely paced beat loop that should find a comfortable home amongst deepest house heads. "Colours" does away with the drums and uses a plaintive sprinkling of keys and delays to create an evocative backdrop for fragile females vocals. "Reef I & II" is the clubbier cut, rolling out over the B side with a looming monosynth bassline and some dub techno inflections making it a smart choice for warm up scenarios especially.
Review: 20/20 Vision welcome Nathan Jonson to the label to deliver some of his esteemed beats - he was previously known as Hrdvision, and as a member of Midnight Operator alongside his infamous brother Mathew. It is in fact MJ who gets the run of the A side with a bouncing, bubbly remix of "Business" that calls to mind some of the most wriggly threads in that unmistakable Jonson sound. "Let Your Body" strikes a different tone on the B-side, conjuring up some rave ghosts and decanting them into a thoroughly modern club burner heavy on the dramatic arrangement and sure to create wild responses on the dancefloor. "Business" in its original form is a loose and funky-as-hell electro jam with live, glutinous monosynth flex and Detroit-tinted pads to die for.
Review: You have to admire Laurent Garnier's continued desire to push boundaries and confound critics. His plan to devote 2014 to releasing five EPs on five different labels, whilst mixing up the styles, is undoubtedly bold. This three-tracker for the ever-intriguing 50Weapons imprint is particularly impressive. "MILF" bristles with stuttering analogue rhythms, foreboding chords and attractive bleep melodies, coming on like an unlikely jam session between Sweet Exorcist and Orbital. "DSK" sees the French veteran moving further towards his techno roots, while "He" sounds like an homage to darkwave with techno overtones and more than a hint of stripped-back early Chicago acid. Bravo Monsieur Garnier, bravo!
Review: Galcher Lustwerk and Alvin Aronson turned many a head with the elegant sophistication of their collaborative album Scenes (2012-2015), which landed on Lustwerk's own label last year. Now the duo are back with more goodies from their Studio OST project, and once again the fusion between gossamer threads of melody and delicately crafted machine rhythms is evident throughout this 12". "Eventide" comes as a full blown track and a sumptuous beatless version, while "Ascension" has a dubby original and useful drums-only cut, making this record both functional and an absolute delight to listen to.
Review: Roots For Bloom hits its tenth release and welcomes Carlos Sanchez & Alex Kaddour to the label. This EP is made for the floor, its no nonsense, groove based house music at its best. Tough basslines drive the A side Black Freddie's Moustache and echoey vocals stab through. On the flip the basslines remain at the forefront of your attention, but this time layered alongside more mysterious synth lines and twisted vocals. With previous releases on the likes of 8Bit and Poker Flat its easy to see why these guys will fit right in at the Roots For Bloom camp.
Review: Lustwerk Music presents a mysterious new entity known simply as The Fock. With little to no background information, this record stakes its own claim within the Galcher-verse by offering up a range of mixes of "Shat Pop." The "Saldes Mix" is a proper immersion heater of cerebral techno, while the nervy, stomping "Flood1 Remix" is credited to White Material regular Young Male. The "Electro Mix" has a squelchy, boogie-inflected palette offset by woozy atmospherics, and the "Ambient Mix" unsurprisingly does away with the drums and drifts in limbo with a disembodied tannoy announcement for company.
Review: REPRESS ALERT: After launching Brush & Broom with two solo releases, maverick German producer Kalbata keeps his followers guessing yet again with this collaborative release with the equally unpredictable Maayan Nidam. "The Town" is a surefire party starter made up of catchy bleep lines, quivering rhythmic flashes and lots of shimmering FX sends that suggest this was a live jam from two talented producers locked in the groove. "Chrome Moon" takes a deeper, more meditative approach without losing those heavy echo chamber washes, where the spring reverb and buckwild delay feedback rein supreme. Wonderful, free-tripping results from an unexpected meeting of minds.
Review: Rising Greek producer G.U.S. steps up on Equivalence with some pumped up vintage techno sounds that take more than a few cues from the UK. "Shelf Cloud" strikes a fine balance between tough and dreamy, using a twitchy set of drums moving at a decent pace and flooding them with atmospheric pads and a slice of vocal that forms a central hook to the track. "Halo" goes even deeper into British territory with its chopped up breakbeat funk calling to mind the dexterous sample magic of Stasis, and then "Haze Phenomenon" heads into deep tech house territory riding a pumped up shuffle beat and swooping pads.
Review: Kreon & Lemos continue their exploration of dubby motifs and crafty beat programming on this latest missive for Equivalence, and at this point it's safe to say anything could be possible from the adventurous Greek duo. Each of the artists has a side across which to express their own vision of "Avatone", starting off with Kreon. The urgency of the funky breakbeat rhythms powering both versions is hard to resist, with Kreon's version ramping up the nagging synth lines in between the drums while Lemos opts for a more meditative refrain around the intricate percussion.
Review: Long time minimal techno pusher Franklin De Costa steps up to Jersey City label Green Village to thrown down a ruckus with four serious cuts of advanced house and techno. "Derp Journal" may be flippant in name, but the bassline it packs is not to be trifled with, nor the edgy drums and lashings of reverb. "Bogart Space" is a more house-minded affair, but it's still reaching to a contemplative space using unfamiliar sounds. "Good Day Bad Day" gets into a cyclical, psychedelic mood thanks to a trippy synth circling overhead, but then the EP gets dealt a tough finishing blow by the cranked up hustle of "Flashmelo", coming on like a crunchy mid 00s minimal jam of the highest order.
Review: FarFromNormal are happy to announce the first vinyl only release of 2016 will be from the legend himself OCH. Coming from the back of years of musical experience we are proud to share with you a stunning original 4 track EP. The Hypnotic Distribution Systems EP is a perfectly produced record with a mixture of feelings through the EP on each track. This whole record just speaks for itself.
The Man From Another Place (Timothy J Fairplay remix)
The Man From Another Place (Cottam remix)
Review: Hailing from sunny Los Angeles, Plastic Love Records kicks off our first release with an EP from label co-boss Jimmy Maheras. Maheras made his debut in 2011 with his Space Jam EP on the Crosstown Rebels edit sub-label, Rebellion. Since then he's released remixes and singles on Strainjjur, Riff Raff, Supernature, and Left'd.
Maheras's two original tracks showcase his depth with The Man From Another Place being squarely aimed at the big room dance floor and the second track, Arecibo, bringing a little Kraftwerkesque funk. We've commissioned Timothy J Fairplay (Crimes Of The Future) and Cottam (Aus Music / Ruff Draft) for two very unique remixes. Fairplay crunches down the original melody and throws it over the famed amen break to give TMFAP a hands in air late night feel while Cottam's remix brings the dreamy melody closer to acid with storming late night kick ready to knock down a wall.
Review: DX Recordings returns with a four tracker from Scott Fraser, folllowing on from the inaugural Dariana 12" earlier this year featuring a deep as hell remix from Chicago legend Mystic Bill. 3 different moods of analogue warmth starting off with "No Word Of Truth" a driving Detroit infused groove joining the dots across to Berlin's Basic Channel, with a Deep bassline, rattling tom's and shifting high hats. On B2 Mystic Bill takes the track deeper and darker, adding dubs, soaring vocals and tight percussion this is Mystic Bills trademark deepness at its best. Over on side B we start off with another Aslice of classic deep techno with a heady basslin. Thumping drums and driving strings keeping feet firmly on the danceloor, leaning heavily again towards Detroit a massive bassline rips in and the strobes come on . Finally on B2 another original remastered piece of deepness from the vaults finally see's a full release on vinyl. Simple, deep vibing house finding a loft space somehere that Metro Area were residing in 2000's New York.
Review: Immigrant Records launched in 1998 and after a six year hiatus is back with an EP produced by US techno veteran Casey Hogan - his first vinyl release since 2008. Casey emerged in the late 90's with fellow techno legends Adam Beyer, Dietrich Schoenemann, Alexi Delano and Jesper Dahlback and is a pioneer of the original tech-house genre. Now a professional sound engineer, he is back doing what he does best and is currently working on new projects and remixes with Robin Porter for Immigrant and Shva Muzik. The EP's title track "A Time Before Now" was produced back in 2000 and has been pulled from his archives to show what tech-house was, is and should be, with it's shuffling percussion, arresting bass line, pensive chord lines and introspective vocals. "Rebuilding" highlights Casey's ability to create an effortless techno groove that chugs along with undulating sub bass and hypnotic synth patterns. "On The Road" takes a detour down a darker road with a haunting sub bass, trademark shuffling percussion and mesmerising chords.
Review: Following previous outings on Blind Box and Half Baked, OddMann strike out on their own with a self-titled label to carry their crafty twists on the minimal house and techno formula. There's quite a tough, old-skool finish to "Track 1" on this no-nonsense 12", tapping up the early UK techno vibe in all its swooning pads and errant bleeps. "Track 2" is more aligned with the clean lines and head-nodding grooves of European minimal, but there's still plenty of space for surreal sound design in between the drums. "Track 3" dials up the swing and gets seriously funky, keeping things stripped back to let the DJ do their thing.
Review: Defected sub-label Tenth Circle welcomes Brighton based Nathan Pope aka Antenna Happy to deliver their first release of 2015.
Following his rapturously received debut 'Pinto' from last year, Antenna Happy draws on decades of musical experience to produce a stunning double-A side. Title track 'Dream 2c' sits somewhere between house and techno, a slow-burning, emotionally charged cut in which glimmering arpeggiated melodies intertwine to create a unique and beautiful cut. 'Wild Stabs' is tougher, an acid-flecked progressive stomper that slowly builds into a maelstrom of seething chords and stabs.
Review: Josefine Hellstrom Hansson's debut track "Water Cave" on HMWLA received ADJ support from AIlario Alicante, Robert Babicz, Piemont, Slam, Paco Osuna, Horse Meat Disco, Nick Warren, Gabriel Ananda and Ame. Now the Malmo-based producer and DJ readies a three track techno / house EP on HMWL's vinyl sublabel Heartbreak Records. On A-side alongside "Water Cave" Josefine offers a peak hour techno weapon called "Sensus". On B-side we find the smooth melodic "Volcanics" at 118 BPM while fellow swede Martinez deconstructs Sensus into a jazzy, mellow piece of minimal tech.
Review: Hut Vibez Records is a London based vinyl label, with a focus on house and techno.. HV002PT1 is designed for the club systems: the second instalment in the Hut Vibez Records series is a rhythmic release, sure to work the crowd. Jase is now delving deeper into the analogue world, creating music with a organic sound.Through this latest production he delivers two intuitive tracks, which capitalise on the sound vinyl can offer. Resonant and complex, these tracks demonstrate Jase's adept fascination with seeking out new ways to work, bringing a satisfying and exploratory sound to the techno realm.
Review: REPRESS: The second release from the Hlanganani label lives up to it's MO to provide a platform for talented producers from South Africa to shine, focusing here on Deep Sixty, aka young and fast-rising producer Johannesburg producer Thabiso Mamogwa. Back in 2010, the producer made it to London to take part in the Red Bull Music Academy, which is when the HLANG team first heard the tracks that make up the Mme Hayo EP whilst some studio time on the same trip with Todd 'Soundmurderer' Osborn resulted in the "Thursday Nights" track which Mamogwa previously self-released. In addition to Deep Sixty's own 'Deep Terror' mix of "Mme Hayo", the label have coaxed some fine remixes out of Esa and William Kouam Djoko.
Review: After releases from the likes of Myles Serge and Hakim Murphy, Mentha now turns to STK (also known as Stekke) for some sinister minimalist tackle from the dark side. "Something Is Raw" creeps along on a bed of grumbling drone as pin-prick percussion punctuates the gloom, and then "What Is Back" drops the bed of noise for an eerily sparse groover sure to unsettle the nerves of any listener. After all those subtleties, Gary Romalis does a damn fine job of edging a little more meat onto the bones of "What Is Back" without losing the vibe of the EP. With punchy yet muted drums and lashings of atmosphere, his remix makes the perfect counterpoint to STK's uneasy reductions.