On Blurse, his first album, Dario Tronchin aka Chevel pushes the boundaries of techno music. In places consisting of little more than microscopic beats and hammered out morse code - "Loop 42" and "Flippant Remark" - in other places incredibly complex, eg on the lithe drums and labyrinthine jazz textures of "Loop 33" and "Down And Out", it's clear that Blurse isn't just another techno artist trying to flex their muscles in the home listening section. "Low Roof" resounds to a recoiling jungle bassline and at the other end of the spectrum, "Heimweh" descends into a discordant, noisy mess. It's a brave, bold debut.
Grime hybrid label Coyote pulls Letta out of the woodwork, a newcomer on the block who has been so bold-faced as to make his debut an LP. Given the variety of the bass scene nowadays, we have classed it as that, but the album is rather difficult to describe in words; each track offers something different, a new take on the UK hardcore continuum with each track. There's also plenty of organic instrumentation in there, and Letta doesn't solely rely on electronics to get his low-ends across. From gentle chimes, to watery swells of dub, this is a dense and vast listening experience...with a healthy presence of low frequencies.
Hafendisko reign from Hamburg; the name translating to 'Harbour City'. There's no doubt that this youthful energy and enthusiasm is what drives the label and its roster of emerging artists. It's more of the same quality modern deep house here on offer here from HOLTOUG, he's actually from Copenhagen and delivers some delightfully dreamy deep house with gorgeous vocals that fans of the poppier output of Kompakt will just adore. Acid Pauli delivers a brilliant remix of said track on the more proggy tip and keeps the vocals, utilising them well. For something a bit dirtier, "Yannick's Loveshuffle Mix" uses a sick and wobbly bassline and sombre strings taking things on a much darker journey.
Japanese artist Teruyuki Kurihara makes his first outing on Blue Tapes with this expansive collection that was originally released across three cassettes. The music reaches to many different places, from the calming ambience of the twenty-six minute epic "1969" to strange orchestral experimentation on the trio of "Untitled" tracks. There is even a tender house moment to enjoy on "Last Manday" in amongst the more experimental fare, although it still fits right in with the reflective melancholia Teruyuki seems happiest exploring with his guitar and electronics combo. For a diverse listening experience that in some ways echoes the Shinichi Atobe album on Demdike Stare, Blue Three is well worth investigating.