Cadenza Switzerland At Juno Download

Review: 'Click', 'glitch' and 'minimal' have become dirty words, but there is a refreshing lack of navel gazing on this release. Instead, Olivia delivers a sexy underground groove on "Piano Piano", which is characterised by sensuous piano keys and a swinging rhythm. The title track and "Jungle Dub" both see Olivia opt for rhythmic tracks, but in latter's case, the drums are loose enough to avoid sounding like a typical DJ tool track. On a different tact altogether is "Ronda", a jacking house groove in the style of classic Derrick Carter and Luke Solomon, albeit one that features a jarring electronic riff. Irrespective of labels or titles, this release shows that good music will always rise to the top.

Review: The title track sees Casarano effectively use acid influences in a contemporary sound. The 303 lines niggle and curl their way around heavy drums and a rolling, tool-ish rhythm, lending a trippy feeling to a sound that can sometimes feel functional. Casarano is in more musical form with "Dreamer", as hissing percussion and heavy drums play host to mournful piano keys that add a sense of melancholia that was lacking in the title track. Finally, "Jazzy" sees the producer go out on a creative limb: the bassline is looser and rubbery and the juxtaposition between the breathy chords and the deranged menace of the squealing sax is a sound to behold.

Review: Italian producer Benedetti hooks up with US house legend Todd Terry for a reassessment of 90s sounds on "You Can't Do This". The track's funky drum shuffle, tight percussion and looped funk guitar sample wear their influences visibly, like Roger Sanchez and Daft Punk jamming together. The only surprise elements are the drum rolls, which take their cues from the analogue techno of Woody McBride or Hardfloor. "Moody Elise" is informed by a similar period as disco samples and insistent samples like those used on Josh Wink's "I Am Ready" as Size 9 bombard the listener. By contrast, "My Mother's "Eyes" is deeper and more electronic, reminiscent of Luciano's own earlier flirtations with minimal house.

Review: Luciano's label hits the spot again with Joyful Process. The rolling groove on the title track does much to give the typical stuttering percussion and microscopic minimal beats a sense of funk, while the repetitive, indistinct female vocal snippet will drive listeners crazy trying to work out exactly what the woman is saying. However, it's "This Broken Heart" that will garner Joyful Process a lot of attention, Once again, Laps deploy a repetitive, vocal that sounds similar to one used on an old Guerilla release. Combined with dense beats and the occasional snare roll, it has the potential to become one of the big releases of the summer.

Review: David Ortega doesn't sound like he comes from Switzerland, but maybe the loose tribal groove and organic drums of "Innocencia" is exactly the kind of distraction that the land-locked statelet needs. It certainly follows the same approach as previous Mendo outings for Luciano's label and on a more general level, the track's use of children's vocals takes its cues from Villalobos's "Enfants". However, the way that the seductive sax line floats languidly over the arrangement is uniquely Mendo's. On the flip, "Old School" offers another fresh perspective, with a siren riff and a Public Enemy-style hip-hop sample layered over a drummy groove.

Review: The latest Cadenza missive does what Reboot and indeed Luciano's label have become best known for - twisting new shapes and sounds out of tool house. The organic, shuffling groove on the original track features soaring bass licks and beautifully fragile Oriental melodies. Robert Dietz's version dispenses with these subtleties and focuses instead on rolling drums and acidic licks. Cesar Merveille's take brings the sense of melody back and adds some breezy bass licks, reminiscent of old Saunderson techno-house. However, the standout track here is "In The Sky"; clocking in at over 12 minutes its tight percussion and soulful vocal samples culminate in the cheeky sample of the vocal from Billie Ray Martin's "Your Loving Arms", which also provides the arrangement's outro.

Review: Luciano's Cadenza Records continues to flourish in this, its sixth year. Last month saw them launch the new digital offshoot, Cadenza Lab and now Cadenza proper reaches a significant milestone of its own, their 50th release. For this landmark release we see the burgeoning imprint return to Reboot's Shunyata album from earlier this month to deliver this unmissable two tracker. Featuring album track "Rambon" and a Luciano remix of "Urana," this is a real treat that cuts to the core of Cadenza?s heart.

"Rambon," which also appeared in the later stages of Reboot's Essential Mix at the end of last year, harks to all the spontaneity and dynamics of Reboot's much celebrated live sets. Seemingly crafted with the art of DJing in mind, the track builds in the German's trademark orgasmically visceral way. Based around what Reboot has termed himself, a complex polyrhythmic rhythm, the groove evolves in a masterful way, each percussive line snapping in to place perfectly. However, underneath this naturally grooving rhythm lies an undertow of strangeness garnered by a collection of everyday sounds such as the clatter of dishes, faint radio signals and pitched down murmurings. After some tightly looped vocals and subtle percussive build-ups, Reboot manages to craft a unique sense of melody, not in a traditional sense but instead wrapped in a strong hypnotism.

On the flip, Luciano reworks album opener, "Urana." Stretching it to over ten minutes, the remix feels more like an edit with the label boss changing very little. What he does do though, is get straight into the groove rather than guiding the track gradually out of the fog as the original does. With its cautious pitter patter drums, rippling percussion, bright arpeggios and smoky feel, this is Luciano expanding on Reboot?s vibe as only he can.

Review: Percussion, rhythms and intricate polyrhythms have always laid down the foundations of Reboot's music ever since he first arrived on the scene three years ago. Since that debut, "Be Tougher/Letters" from back in 2007 on Luciano's Cadenza imprint, the talented German has made a fast and steep rise to becoming one of dance music's hottest properties. He has seen single and EP releases on Cocoon, Below, Love Letters from Oslo, Motivbank, Below and Ricardo Villalobos' Sei Es Drum imprint in addition to highly acclaimed mix CDs for Cocoon and Cécille. Shunyata, his first ever LP marks his return to Cadenza and keeps his ever flowing, tribal polyrhythms at the centre of its sound.

Its title is loosely translated from its Buddhist origins as ?emptiness? which is not used here in a negative sense but as a reference to the album?s state of impermanence and constant state of flux. Utilising the album format, Reboot manages to make the individual tracks start at one point and lead to somewhere completely different, keeping the entire record moving in a constant and kaleidoscopic motion. He builds these spiralling grooves or intricate polyrhythms by interconnecting instruments such as congas, bells, cymbals, woodblocks, shakers, steely drums and aluminium barrels, binding them together to weave an evolving groove. Added to that, stranger sound elements such as field recordings, cut up, distorted vocals, pings and gurgles permeate the percussion layers whilst a spongy bed of compressed bass fills the low end.

The focus is once more on the dancefloor as tracks like the peaktime "Hermano," the deepness of "Dreliach" the hypnotic "Me Show," and the darker vibes of "Save Me" all play testament to. However, there are also some more unexpected moments such as the skipping and melodic "Rambon," the spiralling "Down Pantha," the sedate opener "Uruana" and the sampled guitar that appears on "Sanchez Says." It's very structural nature makes Shunyata an album in the true sense of the word, demanding full and repeat listens to fully appreciate its beauty.