Poker Flat Germany At Juno Download

Review: It's a sign of the 303's enduring appeal that even ten years into the so-called acid revival, Poker Flat can release a compilation of backward-looking tracks that still sound fresh. Label boss Steve Bug leads the charge here with the sexy swagger of "This is Acid", but he has also surrounded himself with some of the finest proponents of contemporary 303 abuse. These include KiNK and Neville Watson, who contribute the gurgling tones of "Sleepless" and the bleeding 303 of Sven Tasnadi & Juno 6's "Generation A". However, if there is one track that defines the otherworldly, primal jack of the acid sound, it's the repetitive whistles and subtly building tones of Tin Man's "Blown".

Review: Adultnapper shows that he's a tortured soul on Fair. While the title track is based on jazzy, skittish drums and features the kind of lost-it detuned chords one would expect from the US producer, it's the vocals that really make this track come alive. Strangely soulful yet sombre, the line "somebody please, try to connect me" sums up the reflective mood. Hosh's remix makes the drums dubbier and wraps a sinister acid cloak and melancholic piano lines around the vocals, while the dub version opts for a more upbeat approach. Featuring the same dubby drums, its chiming riffs and chugging groove don't detract from Adultnapper's existential crisis.

Review: Steve Bug's label has a long and proven track record of releasing new interpretations of classic house, and Universe is no exception. "2 Points After You" may wiggle and groove with the cheeky undercurrent of late 90s UK tech-house, but it also jacks to the primal sound of late 80s Chicago. "Parallel Universe" offers a similar unison, albeit with a different outcome. Its steely, driving drums are pure Terry Francis, but the swathes of acid licks and the mysterious make vocals sound inspired by Phuture. Finally, Mereu opts for a deeper approach with "Revived" as Detroit melodies vie for attention with doubled up claps.

Review: Despite its title, Daniel Dexter's new EP on Steve Bug's label mines a path that straddles both classic and current styles. The title track is a typical modern deep house affair, thanks to its filtered chords laced with insistent bleeps, but Dexter draws on the back catalogue of Reese for its purring, menacing bassline. Likewise, "Who knows Motor City" is based on a typical DJ tool tribal groove, but the use of incessant acid lines provides a glimpse of the past. Finally, "The Other Day" is a deep, reflective groove with a resonating vocal sample that recalls the work of classic house producers like Gemini.

Review: James McGarvie-Munn aka James What flies solo for this outing on Steve Bug's label. While the London producer is best known for his collaborations with Dan Berkson, this release shows that he's adept at working on his own. On "It Feels Wrong", dubby drums play host to strung out vocals intoning the track's title and some trippy 303 action, while "In The Dark" has a woozy feeling and more warbling, out-there acid lines. Finally, Lee Curtiss reworks the title track. Focusing on the acid licks, he adds in some chiming percussion to make for a swaggering tech-house groove.

Review: As the title suggests, this compilation is culled from the fourth quarter of Poker Flat's catalogue, and what impresses most is its diversity. Clearly favouring an open-minded approach to A&R, Bug's label casts its net far and wide and covers a wide range of styles. From the menacing bass and symphonic flourishes of Martin Buttrich's neon trance "Cloudy Bay", through to the minimalistic groove and lullaby chants of Gudio Schneider's "Transmission" and into the sick, dubby house of Radioslave's remix of Trentemoller's "Moan", this compilation succeeds in representing many of modern electronic music's facets. By including the dreamy, Detroit pads of Aril Brikha's "Amire" and the atmospheric filters of Redshape's remix of Simon Flower, it also captures new interpretations of classic styles.

Review: It sounds like Andrade was weaned on some of the late 90s and early 00s tackle! "All In" boasts the jarring discordance of electro house before it became a hipster soundtrack and "Lies" is an acid-tinged rolling groove with a vocal narrative about loneliness. However, it's the title track that stands out here: as it progresses, the niggling riff sounds like the modern version of the one that drives Josh Wink's "Don't Laugh", but it's the bad ass bassline, a booming sub that could have been spawned after years spent listening to London tech-house and 2-step, that really captures the imagination.

Review: Steve Bug may be influenced by the sounds of classic house, but on this EP the Poker Flat owner shows that he and Cle have their own vision. Therefore, while the title tack revolves around a predatory bass, a succession of techy stabs pushes it into a breakdown, while the icy chords have an unquestionable spine-tingling effect. Similarly on "Monkey Shoulder", the duo borrow the driving, crashing snare drums from Chicago and the evocative pads sound like pre-disco Morgan Geist. Ironically, although it forgoes using Chicago's jacking past, "Shadows" is most in keeping with the city's past. In particular, the prowling bass and almost dainty, delicate melodies are reminiscent of classic Larry Heard.

Review: Steve Bug's label proves that its A&Ring is as spot on as ever with Come Down In Time. "Far Down" is a gloriously languid deep house track, its deep chords building over an elastic bassline. However, it's "Time Comes" that really impresses: sampling liberally from old dub reggae records, its lurching rhythm and vocal toasting snippets are tempered by steely staccato drums and a system-levelling bass. But that's not all: as the track progresses, Show B introduces jangling melodies lines that are reminiscent of early Villalobos tracks. The dub version is more dance floor friendly, but here too, the combination of heavy bass and sublime melodies drives the arrangement.

Review: Steve Bug has never made a secret of his love of Chicago house, and on his latest label compilation, delivers the eerie synths and doubled-up claps of "Jack Is Back". Like-mind Martin Landsky also focused on Chicago with his bass-heavy "V2U" and Redshape's view of the Windy City is coloured by the slamming acid of "Funny Green Hat". Deeper house influences are also audible - on Deetron's "The Maze" and Ribn's "Pancake", a paean to Carl Craig at his most sensual. However, the contribution that impresses most is KiNK & Neville Watson's "Night Time Raw", which forges LFO-style bleeps to the duo's usual jacking, insistent rhythms. It's a case of one step back and three steps forward.

Review: Despite its perception as a minimal label, Poker Flat has always pushed Chicago-influenced elements, so the 'back' part of the release's title is a little misleading. More importantly though is the artists' ability to mould their own take on this timeless sound. Steve Bug does this by using a stuttering 'j-j-j-j-jack' vocal sample and tougher than usual beats on the title track, while on "V2U" Martin Landsky dispenses with the ominous sound of "1000 Miles" in favour of a more understated but equally menacing bass, fused with rasping percussion. Best of all though is Cle's "Reaching Out", which combines a "Washing Machine"-style churning bassline with eerie synth lines.

Review: German producer Roland Appel's "Dark Solder" was one of the most played house records of recent years, and it sounds like "Fleurs Du Mal" may emulate it. Appel's productions are straightforward yet full of feeling and the chord-heavy title track is a case in point, building to the sound of spooky vocal samples and filtered bass stabs. The end result is an eerie, utterly distinctive tech-house track. "Rosario" is a crisper drum track that also features building chord sequences, but it's "Black Leather" that steals the glory. Based on a relatively similar framework, its chiming bells are enchanting and, coupled with a wailing banshee, makes for the spookiest, tranciest (with a small 't') house this side of David Alvarado.

Review: Although he has released on other respected labels like NRK and Meerestief, Durango's natural home is Poker Flat. This is apparent on Mosaic, where he succeeds in amalgamating brittle, understated beats with dreamy chords and pulsing basslines. While the title track unfolds to the sound of a tranced out chord sequence and tight claps, it's really "Foreva" that captures what the label is about, featuring breathy vocal samples, dreamy melodies and the kind of snaking basslines that prevail in Steve Bug's DJ sets. By contrast, the organic drums of "Domp" almost sound out of place, but the repetitive vocal sample intoning the track's title ensure that it's never too far from the Poker Flat style.

Review: US producer MANIK has released for Ovum, but the What Is Who EP sees him adapt seamlessly to the Poker Flat in-house style. In fact, the tumbling drums, sombre bass and nagging acid line on "Pure Liquid" suggest that MANIK was destined to release on Steve Bug's label. The title track supports this notion, with MANIK again deploying an insidious 303, but this time combining it with the kind of detuned synth riff that wouldn't sound out of place on a Martini Bros release. Finally, "Good4Me" is reminiscent of Martin Landsky's releases, with doubled up claps and jarring tonal stabs sounding like a malfunctioning computer game - further proof that MANIK has found his true home.

Review: DWhen an artist releases an album that immediately gains the respect of critics and fans alike, often their label will look to capitalise on the success with a quick remix package, pulled together to exploit the hype that surrounds the release. However, Donnacha Costello?s LP from March, Before We Say Goodbye, was not just a great album. It was genre re-shaping one, taking techno into a beautiful, emotive and diverse place where it rarely finds itself. Poker Flat, recognising this outstanding achievement, set out to deliver a remix EP that lives up to the original album and the emotions that it stands for. By drafting in Lawrence and production duo KiNK & Neville Watson, they have resoundingly accomplished the task.

Dial's Lawrence, who like Costello poses a real musicianship in the true sense of the word, manages to glean out yet more emotive depth from the Irishman?s pristine "Leaving Berlin" with smothering strings and a glowing wash of synths. We find the German in a sultry mood as he combines a rich, dubby atmosphere with beautiful melodic structures. As the track evolves, dense strings and softly pumping percussion begin to wrap themselves around the memorable hook of the original. Rush Hour duo, KiNK & Neville Watson turn in a classic acid rework of "It?s What We Do." Jacking all the way with a cruising bassline and tough drum machines, the duo bring a distinct Chi-town feel to the track but merge it with modern and skilful studio know-how.

Review: Only his third LP in an established career that spans nearly a decade and a half, Before We Say Goodbye is Irishman Donnacha Costello's latest album that deals with the topic of techno in his own unique and beautiful way. Released on Steve Bug?s Berlin based label Poker Flat, the album proves that techno music can harbour the skill, emotion and diversity that is so often missing within it.

Much like his 2001 masterpiece Together Is the New Alone, this LP taps into an ambient texture, but builds it with techno rhythms and pulsations. By keeping his club sentiment at bay, Costello delivers a subtle album that flows with the kind of natural current that is often lost within techno productions.

Weaving in and out of styles, up and down tempo ranges, the LP is expertly crafted to take you on a journey that ebbs and flows with purpose. From the deep and melancholic but groovy slow burners such as "Leaving Berlin" and "A Warm Embrace" that set the LP off, Costello moves into an old school mood on "It's What We Do" before hitting his stride with the more up tempo offerings of "No-One Is Watching" and the onomatopoeic "Roll It Out." On the second half of the album he winds things down with tracks like "With Me Still," "Stretching Time," the mournfully melodic "The Tug" and the beautiful "Last Train Home" which finishes the LP off in aptly reflective mood. Such is the musicality of Before We Say Goodbye that it feels like an album crafted outside of techno and underground dance, but at the same time using the sounds and the flavours of the genre to redefine the way we view ambient techno in the UK.