Review: In a bid to make the first release on their freshly minted Philoxenia label stand out, Neu Verboten and Luigi Di Venere have turned to the invaluable experience of Steve Marie, a Paris-based Corsican producer known for his heady blends of techno, EBM and trance. It's a smart move, because Ho! hits home hard from the word go. Marie first offers some retro-futurist flavour in the shape of the bass-heavy, 1990 bleep and breaks style weight of the acid-flecked title track, before combining his EBM and neo-trance fascinations on the chiming and creepy 'Devil Inside'. He retains the deep bass and razor-sharp TB-303 motifs on laidback and angular electro number 'Romanee Conti', before puffing his chest out on trance-inducing, faintly foreboding late-night throb-job 'Trancia'.
Review: Given the sheer size and depth of his back catalogue, it's not so surprising that Alan Sei AKA Aubrey has begun reissuing some of his most formidable 1990s work. The latest vintage 12" to get flipped is 1995's Ginger Biscuit EP, whose dense and heady techno title track peppers a robust kick-drum pattern with layered, carnival-ready percussion, an ear-catching melodic hook and a weighty bass loop. While inspired and club-ready, it's the deeper and more dub-informed nature of the rest of the EP that makes a greater impression. For proof, check the hazy, post-bleep, deep techno vibes of 'Long Player', the outer-space techno hypnotism of 'Shimmer' - all heavy dub bass and sparkling synth riffs- and the slipped dub techno warmth of 'U Be Dick'.
Review: 'Lyot' is a legend of a track. By now it is considered as a genre defining tune, reflected in the appearances on countless compilations with such a goal. Naturally the Maurizio mix included here doesn't stand behind the original version. The music here is a reflection of the huge impact the Detroit techno music of the early 90s had on the Hardwax camp.
Review: 'M 6' consists of two heavy stomping dub house tracks that are dominated by a multiple modulated sequence that reaches from considerable depths to the heights of coloured noises. All is surrounded by a warm and organic sound sphere of the usual characteristics. A deep groove experience is guaranteed.
Review: Malin Genie's purple patch continues to yield more delights with this latest drop on his self-titled label. This time around the prolific Dutch artist is delving into smoky, hidden corners of house music where dub lingers thick in the air and rough textures scuff depth and character into the synth work. "Aventijn" has a purposeful drum machine tick but its utterly somnambulant in its execution, while "KIAR" lilts on a dusty groove and woozy clouds of funk. "Duppy" has a distinct dub techno influence, but it's still a steadfast house groover at heart, and "Amulius Numitor" ditches the beats for a pure interstellar exploration. With some bonus locked grooves for creative DJs, this is a versatile and imaginatively rendered EP with creative spark to match its usefulness in the mix.
Review: Although rarely spoken about in hushed tones, Peter Adshead AKA Baby Ford is one of British house and techno's true pioneers. As many readers will know, he spent the first decade of his career exploring acid house and rave, before switching to a deeper and more minimalistic techno and tech-house sound towards the end of the '90s. It's in that period that BFORD14, which is finally being reissued, first appeared in stores. Intoxicating, bass-heavy and entrancing, the EP's many highlights include the hissing hypnotism of 'Serpentine Tale', the deep bass, melancholic synthesiser chords and crunchy drums of 'Night D3 Died', and the spacey, deep techno warmth of deliciously hazy closing cut 'The Introducer'.