Dust Science At Juno Download

Review: This collaboration between the Black Dog and members of the Psychick Warriors Ov Gaia and their extended, associated family is reminiscent of the Sheffield act's recent Music For Airports album. However, the presence of the other collaborators should not be understated. "Groot Zwart" starts off as an atmospheric mood piece, its swirling textures sounding like a lost track from the album, but the synths usher in an ominous feeling, not unlike the soundtrack during the denouement in Blade Runner. "Objet Gevonden Voorwerpen" meanwhile is more eerie, as howling effects make way to let an overpowering static hum take over. It makes for compelling mood music.

Review: It's been twenty years since the Black Dog released its first record, and in that space of time their fans have been through more line-up and style changes than a US R&B act. From breakbeat rave through poly-rhythmic 'intelligent techno' - this writer's favourite incarnation, it must be said - through their film soundtrack, ambient and industrial stylings, tBD have covered a wide range of ground, enchanting, sometimes baffling, but always demanding our attention. What is most striking is that apart from Luke Slater, they are the only act from the UK's golden age of techno that still sound relevant, something they have achieved by not standing still for too long. The Liber series revealed their love of 80s industrial, but it also showcased Italo, moody electro and techno without breaking a sweat. Now tracks from the series get the remix treatment from some of contemporary electronic music's most vital names. Sandwell District's take on "Dissident Bleep" is everything one would expect from the revered techno act, a tunneling, hypnotic groove, while newcomer Sigha's take on "High Rise Choir Reprise" opts for a diametrically opposed sound, the textures stripped away, replaced by a stuttering, plate-metal rhythm. Shifted and Perc also impress; the former's take on "Heavy Industry" sees a gushing filter wash over the Dog's bleepy techno and the latter turns "Bass Mantra" into a pounding, sheet metal rhythmic assault. It's not all functional, streamlined techno however, and, like the Black Dog themselves, a large part of this remix package's charms comes from unexpected moments like Richard H Kirk's shimmying, sax-infused take on "Greedy Gutter Guru" and the muttered vocals and murderous sub-bass of Blawan's version of "Black Chamber Order". Here's to 20 more years

Review: Over its 20-year history, UK act The Black Dog has been through as many style changes as Imelda Marcos's shoe cabinet. From early jungle and hardcore to pioneering 'intelligent techno' and more recently embracing wistful ambience, the Dog's catalogue is nothing if not diverse. Kult, which according to the Throbbing Gristle-esque subtitle is "one of Ov (sic) 3" releases, further defies categorizations. "Black Chamber Order" is a spooky Italo workout, its eerie synths cutting through the undulating backing groove like razor blades. "Bass Mantra" provides a further surprise: it's tranced out hooks give the track a sluggish, druggy feeling, an attribute that is accentuated when the "Digeridoo" bassline at half speed kicks in.

Review: On this third and final installment of The Liber Nox, the Sheffield trio continues its remarkable transformation from ambient gurus to neo-industrial heroes. "Dissident Bleep" is, unsurprisingly, littered with tonal blips and bleeps, but it's the fusion of terse, stepping rhythms and dense broken beats with eerie sound scapes that make the track sound like Throbbing Gristle getting it on with Regis. "High Rise Choir Reprise" is less austere in mood and in places its pads and swirling chords sound like early Black Dog - during their 'intelligent techno' period - but the throbbing bassline and wonderfully niggling acid line ensure that it has more in common with modern day producers like Shifted and Sandwell District. Highly recommended.

Review: The second instalment in the Sheffield trio's Liber Temple series takes a more hard-edged approach than its predecessor and is focused squarely on the dancefloor. "Heavy Industry" embarks on a panning ride through underground tunnel techno, its heavy claps and malevolent bleeps navigating a path through turmoil created by a tearing, searing bassline. "Greedy Gutter Guru" is somewhat less abrasive, but it is nonetheless equally effective, as the Dogs drop concrete slab beats and, in reference to the first instalment, a pulsing, undulating bassline. It'll be interesting to hear what the third and final chapter of this series delivers.