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: Following up some great ones by Mark Archer, Waveguide a.k.a Stereociti and newcomer Vivian Koch, Scottish hi-tech soul engineer Stephen Brown makes a welcome appearance on Berlin imprint a.r.t.less with his idiosyncratic brand of emotive techno. You really can't fault anything by this stalwart of the scene and the Sweet Nothing EP is no exception: from the Detroit style bounce of "The Venue", to the title track which could match anything John Beltran has done in the art of glassy eyed and bittersweet epics. On the flip, we particularly enjoyed the cavernous and glacial chill of dub techno excursion "Cedar Wood".
Review: Proceeding the well-received 'Move Like Atoms', @morelian returns with a three-track EP 'Radical Spectacular' to be released on Fever AM - the label she runs with @rhyw.
Marking Mor's ninth release, 'Radical Spectacular' continues to highlight her unique take on techno. Her interpretation of the genre is influenced by the fascination with layering multiple drum patterns, pulling from styles she grew up on such as UKG, electro and IDM as well as the more traditional ethic sequence, leading to her own hybrid style.
Taking an alternative direction with 'Radical Spectacular', the release showcases Mor's dynamic production palette. As the title track and 'Wave Alienation' build upon atmospheric melodies and murky basslines, the EP rounds off with 'Farewell to The Snare'; a heldback whirlwind of tight breaks and robotic, paranoid arpeggios.
Review: Six brand new shakers from Omar S...This is the sh*t! Never confined to one particular genre, Omar is again blending house, techno and even minimal styles into one big pot of deep Detroit underground funk. There's even some Basic Channel / Deep Chord vibes going on there somewhere. Simply killer.
Review: UK tech-bass specialist Randomer has undoubtedly become one of the most prolific names across this country's dance scene. The talented DJ and producer has promoted his style since those first Hemlock killers began to surface, and he has kept on pushing that sound into new platforms, such as Holland's mighty Dekmantel. This new EP opens with the percussive bang and thrash of "Van Pelt", before launching into an all-out techno attack via "Shadow Harp". On the B-side, "Dissolve" blasts out yet more organized chaos, this time in the form of off-kilter drum sequences that verge on the tribal, leaving the title track to spin the drums into a total frenzy - backed by a radiant industrial bass that bounces from wall to wall. Highly recommended!
Review: All that we know about the enigmatically named Sa Pa is they are affiliated with Weimar crew Giegling, emerging earlier this year with the Fuubutsushi album on the Forum sublabel that garnered comparisons with Prince Of Denmark. Sa Pa's penchant for subaqueous techno now lands the producer a 12" debut on Marcel Dettmann Recordings. Lead track "We Can Be Friends" is so dubbed-out and murky that it could almost run as a background percussive piece in your mix - that's not to say that we don't think it's absolutely killer, because it is! "Morocco" is completely in a world of its own, crackly feedback and sparse sonics abound, while "Fast Jam" is a heady techno stomper with a punchy low-end and sublime percussion, a track that is followed by another murky load of swamped atmospherics in the form of "Untitled 11". If we have to be completely honest, this has been our favourite MDR 12" in a long time, and it comes with a heartfelt recommendation. Killer.
Review: For the west coast techno scene of America, Developer and Truncate are a one stop shop for club techno. Where Developer's production goes large, Truncate's focus is primitive techno minimalism - for David Flores, his peak time productions come packaged as Audio Injection. Truncate fans will notice the similarities of "Control V1" to "Concentrate" (recently commissioned for Pangaea's fabric live 73) from 2011. Truncate manages to strip back "Control V2" even more, which puts greater emphasis on the ketamine drugged computer vocal, while "Reflex V1" and "Reflex V2" are also incarnations of themselves; one minimal, the other more so.