Review: Alongside regular studio partner Andreas Baumecker, Sam Barker has released a swathe of admired singles and a couple of on-point albums on Ostgut Ton. Here he returns to the much-loved German imprint with his most significant solo release to date: a debut album of drowsy, sun-baked electronic positivity that expertly melds elements of hazy ambient, dub techno, off-kilter electronica and the classic kosmiche synthesizer soundscapes associated with Tangerine Dream. It's a lot less dancefloor-focused than much of his previous material, but that's not a criticism: indeed, the fact that it's warm, opaque and prioritizes fuzzy, slowly shifting musical movements is the album's greatest strength.
Review: The Beneficiaries is an all-new collaboration between three of Detroit's finest - techno pioneers Jeff Mills and Eddie "Flashin" Fowlkes, and poet artist Jessica Care Moore - and this debut album is nothing less than a touching, whole-hearted tribute to their home city and its rich cultural history. Musically, it's intoxicating, far-sighted and otherworldly, with Care Moore adding a variety of ear-catching spoken word vocals to backing tracks that veer from acid-fired alien techno (epic opener "Metallic Stars", "Star Children of Orion"), percussive, dubbed-out late night murkiness ("People"), sun-bright analogue ambient melodiousness (the sparkling "When The Sun Loves You Back"), dark and moody electronica ("The X"), and heady, bongo-powered hypnotism ("The Crystal City Is Alive"). In other words, it's as great as we expected, and then some.
Review: Geir Jensson's debut album under the now familiar Biosphere alias, Microgravity, has long been considered something of a classic of the early '90s ambient boom. First released in 1991, it offered an icy but suitably atmospheric mix of chilly ambience, British-style "intelligent techno" and crystalline IDM. To celebrate 25 years since it was recorded (it was released a year later, in 1991), Geir Jensson has re-mastered it and, with the help of a successful crowd-funding campaign, pressed it onto a double CD minus the cross-fades and sound effects featured on the original pressing. Happily, Microgravity has lost none of its' allure, and the superb re-mastering ensures
Review: While Black Dog founder Ken Downie has rarely been one to talk candidly in the press, his current studio partners, Martin and Richard Dust, have been known to deliver angry missives on a variety of topics. It's perhaps unsurprising, then, that the trio's latest album- their first for nearly three years - appears to have been inspired by the current state of politics and the media. Full of knowing track titles, melancholic refrains, frustrated rhythms, dystopian soundscapes and angry motifs, the album's thought-provoking intent is rather overshadowed by the quality of the music on offer. You'll find bustling electro, end-of-days ambient, rushing cinematic techno, IDM and the kind of hard-to-pigeonhole fare that inspired then NME journalist Mixmaster Morris to come up with the now familiar "intelligent techno" tag.
Review: Surgeon and Regis have been collaborating as British Murder Boys for decades, though in recent times it's tended to take the form of occasional live performances. Like their previous album, 2014's "Live In Tokyo", "Fire In The Still Air" is a non-stop recording of a live performance - in this case one that formed part of Berlin's Atonal Festival last August. It's a thrilling and largely breathless excursion; a non-stop, 51-minute ride in which Surgeon handles beats and electronics, and Regis processed sounds and growling, gravel-voiced vocals. The duo's techno credentials shine through, of course, but it's their industrial and EBM inspirations that come to the fore throughout. For much of the set, they come across like an updated, techno-propelled re-incarnation of early '80s Cabaret Voltaire, and that's not a bad thing at all.