Running Back Germany At Juno Download

Review: The phrase "Gerd Janson does it again" seems to be uttered all too often here at Juno HQ, with his Running Back imprint somehow maintaining a standard of quality that's matched by the lack of fuss Janson makes about it. The latest EP reeks of Running Back brilliance courtesy of mysterious producer BDI who was last seen dropping the brilliant "City & Industry" on Rush Hour. Described with typical verve as "Vatican house", this three track release has the erstwhile BDI operating under the Compassion Crew name drawing out three variants on "Paper Tears" with the jangly insouciance of the Tribal Tears Dub perhaps the pick of the lot.

Review: When Mike Taylor's first 12" dropped on Love What You Feel in 2009, a lot was written about his distinctly DIY approach to music-making. Like the early pioneers of house and techno, the Austin, Texas-based bedroom producer known as the Disco Nihilist makes raw and uncompromising music using analogue sequencers and various other bits of hardware kit. Like his previous releases, Running (Far Away) is full of instrumental experiments that sound both authentically old and vacuum-packed fresh. The six tracks here offer a neat round up of Taylor's talents and inspirations. "Greasy Grind" opens proceedings with a swift punch to the kidneys, combining brain-melting acid tweakery with impressively fuzzy industrial beats; think Cabaret Voltaire jamming with Phuture, recorded on a battered old eight-track, and you're close. "Keep It Simple" continues the stripped-back acid theme, offering a floor-shaking concoction that is little more than heavyweight beats and bubbling 303-trickery. There's a clue in the title. Then there's "Sci-Fi On Tape", a surprisingly warm concoction that stumbles into Mr Fingers/Bobby Konders territory, like early Virgo Four after a fistful of little 'uns. "Coffee & A Warm Paperback" continues this theme, wrapping sugary electric piano chords around a brilliantly simple groove. Taylor clearly has talent, and his dedication to the original DIY ethos of house music is admirable. Of course, style is nothing without substance, but Running (Far Away) has that in spades.

Review: Judging by this release, Helium Robots producer Ewan Wilmott should be one to watch this year. Having previously only released two wonky slabs of leftfield disco on Dissident way back in 2008, he's hardly prolific. Yet the two original tracks here suggest there's much more to come. Opener "Crepitation" cranks and bubbles its way through six minutes of IDM-goes-disco oddness, somehow managing to sound thrillingly cutting-edge and lovingly familiar. "Jarza", meanwhile, somehow distils the piano-laden beauty of Larry Heard style deep house and shimmering Balearic disco into something distinctly new. As if that wasn't enough, the mighty Theo Parrish pops up to turn "Jarza" into two sub-heavy chunks of late night freakiness. Highly recommended.

Review: Marco 'Tensnake' Niemerski is infuriatingly talented. Here, he shows off his capabilities with two vastly different remixes of Philip Lauer's "Trainman". First up is the "Franceman" mix, a sprightly, funk-fuelled disco-house take propelled by an insatiably infectious live bassline. It is, of course, tops. Next he attempts to reinvent trance (yes, trance) via the "Tranceman" mix - seven minutes of rush-inducing Balearic trance at a house tempo. It's actually excellent, coming on like a trance-inspired version of a classic Bobby Konders production (with, of course, Niemerski's cherished synth-xylophone riffs atop).

Review: Amazingly, it's been some three years since the last single from former Crosstown Rebels and Music For Freaks mainstay Matthew Styles. As you'd perhaps expect given its release by Running Back, this comeback EP is pretty good, with the hirsute producer offering up a variety of flavours across the five tracks. The title track, for example, is little more than a freaky, beatless DJ tool, while "Polee" channels the spirit of space disco and Chicago jack. "Scale" is unfashionably deep and careful, whilst "Galaxy 21" is a heavy percussion work-out with a twist. All are overshadowed by impressive lead cut "Don't Call Me Again", which sounds like a swinging house take on the classic Carl Craig sound.

Review: Second time around for Pelon's long-forgotten dub techno classic, which first slipped out on Chain Reaction way back in 1996. The version chosen for this Running Back re-issue actually comes from a label compilation from 1998, but it varies very little from the original vinyl version. Now remastered, it comes on like a housier take on classic Basic Channel - it's simple, delay and reverb-laden elements (relentless, rolling synths, one-note dub bass and solid kick drums) sparring constantly with occasional 909 snares and hissing hi-hats. It's long, hypnotic and other-wordly - and very, very good. If you missed out first time around, don't sleep.

Review: Gerd Janson is usually on the money and the latest release on his Running Back label is no exception. Relatively unknown South African producer Rezkar's superbly spacey single boasts synths that glimmer dreamily over a chunky yet minimal beat, with only the sparsest of bass notes to keep you on the ground. The Mystery Boy edit pads the drums out and rearranges the distinctive melody around them, while John Daly's mix returns to the cosmic vibe of the original by adding a two-note synth line that slowly worms its way into your head.

Review: It's fair to say Running Back have not put a foot wrong this year with headline releases from Tiger & Woods and Todd Terje complemented by some lesser celebrated but by no means less impressive twelve inches from Marco Passarani, Disco Nihilist and that stunning Son Of Sam reissue. Their latest release sees the focus shift to another under the radar producer in Suzanne Kraft, whose Green Flash EP makes for one of this year's most attractive releases. Kraft adopts a pleasantly midtempo poise on "Morning Come" with swathes of melodies infused with sunset gradually rising to the fore. This joyous feeling flushes through the rest of the EP with both "Turning" and the title track sounding like Tiger & Woods performing from the deep end of the pool. "Femme Cosmic" provides an excellent finish to proceedings, unfolding from a tinnily reverberant slowed down proto house drawl into some midnight cruise through dubbed out mutant 80s disco boogie.

Review: In preparation for a much awaited debut album from Tiger & Woods, it seems pertinent for Running Back to revisit where the phenomenon began in the shape of "Gin Nation". The highlight of the duo's Caddy Shag EP, which has long since sold out, "Gin Nation" remains as potent a dancefloor weapon now as it was upon release. Those eager to hear what is on offer with Through The Green will delight in the inclusion of "Kissmetellme" which is a dizzying example of the duo's talent for reshaping source material. Check the additional "Kissmetellmemore" dub version for a beefier take!

Review: In recent times, many have tried to copy the Tiger & Woods formula, but no one has yet come close to matching the sheer heaviness and timeless quality of their loopy, edit-heavy productions. For proof of their genius, just check this debut full-length. Featuring a mix of new cuts and tracks culled from their previously mysterious white label releases ("Gin Nation" etc), Through The Green offers a lesson to would-be copycats in how to turn a bagful of boogie and electrofunk samples into party-rocking disco/house gold. The beats and basslines are heavier than a skipload of sumo wrestlers after a night at an "all you can eat" buffet, the loops addictively hooky and the builds judged to absolute perfection.

Review: Terje Olsen doesn't release many records, but when he does they tend to be pretty special. This surprise EP for Running Back is his only his fifth original single in seven years, but it's arguably his best yet. "Ragysh" is devilishly simple, a naggingly hypnotic house/ electronic disco head-nodder that builds to a gasping climax of chic, intergalactic melodies. It's partnered by "Bonysh", a dubwise beats track that ekes maximum thrills from little more than ever-changing percussion. "Snooze For Love" - available in dancefloor and downtempo versions - continues the stargazing theme, offering up an uber-Balearic mix of bleep melodies, dozy chords and sleepwalking percussion.