“After over a decade in the music industry, Toolroom is going back to its roots. We’re reigniting our passion for House music. Over the past ten years, we’ve signed and even discovered some legendary artists; we’ve led the way in an ever-changing industry, developing artists and even evolving ourselves. Now it’s time for Toolroom to enter a new phase; it’s time for #RESET. #RESET is about refocusing; it’s about credible House music. We have a strong musical vision, tight artist roster, new album series and new events concept. It’s a new beginning, the start of a new journey, and we want to share it with you.”
Juno have hooked up with Juno to present Toolroom #Reset kicking off with the epic release “Toolroom Live 01”. “Adrian Hour” has recorded a very special and exclusive mix for you to download and we also managed to wrangle yet another free track for you guys. This one is a banger indeed - "Everywhere" by Adrian Hour available for free for a very limited time so get downloading!
Toolroom Live 01 is a behemoth. At 61 tracks large, inclusive of three continues DJ mixes, this new concept by Toolroom, as they say, is to highlight key artists, present new tracks, and give their fans a taste of the live experience. On here there's music from Harvey Mckay, Gary Beck and Maison Sky, to Bat For Lashes, Hot Since 82 and label owner Mark Knight, and if you're looking to grasp the Toolroom Live concept (and other oddities you might not expect), while getting some bang from your buck, this release is a well informed start.
Mark Knight's label brings together some of the sounds that were showcased over the course of the ADE. Basement Jaxx kick start the compilation with the stomping disco house of "Never Say Never", while Harry Romero shows that he's not just a US house head. Working with Doorly, he drops "The Truth", a tough techno track, led by heavy claps. The techno influence lingers on Maceo Plex's "Conjure Superstar", which features an unusual combination of rave sirens and sublime, 808 State-style synths. As is the case in the wider electronic world, this reinvention of the past is in abundance on Amsterdam 2014 and apart from Plex's track, the most impressive contribution is Dosem's "Chase the Link", which sounds like a particularly dark version of vintage Lil Louis.
Italian producer Lehar caused something of a stir online recently, after giving away his remix of Kollektiv Turmstrasse classic "Tristesse". Here he makes his debut on German deep house label Connaisseur. The Venice-based DJ/producer kicks things off with "XY", a shuffling, foreboding trip into woozy, delay-laden tech-house territory complete with subtle builds and horror-influenced chords. "Sargas" is equally as spooky, with ghostly textures and fear-ridden electronics riding an undulating late night groove. Longtime pal Mario Basanov provides the obligatory remix, turning "Sargas" into an inspired chunk of gently uplifting, melody-rich European deep house. It's almost the polar opposite of Lehar's original - in tone and texture - making for a striking revision.
Is Seth Troxler a romantic at heart? It's hard to say, but he does go off on an unexpected rant about 'this thing called love' for his contribution to Love Song. The fact that his vocals are surrounded by a Deetron's cool, trance synths and throbbing, bassy groove, make his utterances sound all the more convincing. Steve Bug has been put in charge of the remixes and does a fine job. Working under his Traffic Signs guise - a project that Bug started some time ago for his Chicago-style experiments - both versions see the German DJ/producer push the track into the kind of grinding, jacking sound that exudes pure carnal appeal.
So good they named him twice, Ed Ed's "I Got" is a surefire summer house anthem. In its original format, it revolves around a rolling groove, walking bassline and vocal screeches. While it has crossover appeal, it's not overtly commercial, evidenced by its tough claps and churning chords. The dub take features tougher drums and a dark, churning filter, while the Oliver $ take continues in this vein. Focusing on tribal drums and powerful, surging bass, the remixer brings the soulful 'I got something' vocal snatch to the fore. Copyright's version adds some malevolent acid to the mix, while Ben Mono's take revisits swinging 90s garage.
Redshape's last outing on Running Back, Bonuz Beatz Vol 1, was something of a stripped-back affair, offering a quartet of forthright DJ tools. Here, the masked techno producer returns to his usual full-throttle best. The original version of "Leaves" is decidedly robust, with clipped acid lines, electronic squeaks and a rumbling bassline riding a locked-in groove. The "Rotated Mix" offers a little more space for the groove to breathe, with Redshape getting busy with drum machine handclaps, hissing cymbals and classic rave-era stabs. The "Stripped 2 Clip & 303" version, meanwhile, pushes the nagging acid lines to the four, stretching them out over a tweaked, cowbell-laden groove.
The term 'locked groove' may be primarily associated with tough, loopy techno, but Tim Van de Meutter's latest release under this name is radically different. The title track starts with stripped back, minimal house beats, before de Meutter introduces a dramatic, surging bassline and tranced out synth lines. It's to the producer's credit that he manages to keep the groove dance floor-based. "Meditations In An Emergency" pushes even farther in an esoteric direction; a chattering rhythm and acid warbles provide the backdrop for Locked Groove to provide the kind of dreamy synth scapes that Derrick May used to produce. Van de Meutter's stage name may not fit this music, but "Meditations" is still deep electronic music at its best.
Turbo's mission continues to release music by as many talented new techno producers as possible with the signing of Anna. Hailing from Brazil, as her debut for Tiga's label demonstrates, she makes pared back, reduced grooves with a twist. The title track is led by squelchy rhythms and has the same kind of slow-motion siren that featured on False's Fed On Youth enveloping a pitch-bent vocal. "Drum Machines Do Have Soul" is tougher and more frenetic, with more trippy vocals, unfolding this time over insane snare rolls and subsonic bleeps. Finally, "Swamp" sees a return to the title track's sound, only this time it is led by a slap bass and discordant riffing.
Snuff Crew have long described their style as "the new old house sound of Germany". It's an apt description, as their productions ripple to the familiar sounds of jackin' Chicago house rhythms, the undulating intensity of acid and - on occasions - the druggy, synth-heavy pulse of Italo-disco. The masked men of mystery are at it again on this three-tracker for BPitch Control. Choose between the throbbing, Italo-meets-the Chemical Brothers vibes of "Berlin", the handclap-heavy Chicago-meets-New Jersey warmth of "Sick World" and title track "Pump It Up", which comes on like the soundtrack to a particularly messy night in a downtown Windy City basement.
After popping up on Opal Tapes amongst other cult labels over the past couple of years, DJ Ford Foster has made the move to Unknown To The Unknown and he's in the mood to get nasty. "Gold Cans" is a primal slice of gritty jack business that moves in the stiffest possible groove, while every single drum sound seems to grind its teeth to make the grizzly synth feel at home. "Let's Go" has a definite ghetto house flavour to it, while "Black Candles" gets more deranged with a whole lot of sample triggering and background droning behind the jackhammer beats. "Fake Shoes" is equally unhinged and upfront in its approach, making this a perfect release for the UTTU mission.
Fresh from launching their Second State Audio label, Mobilee regulars Pan-Pot (AKA Tassilo Ippenberger and Thomas Bendix) have mixed the latest instalment of the Watergate compilation series. They're no strangers to the infamous Berlin club, having been regulars behind the decks for the past few years. Given this relationship, it's perhaps unsurprising that Watergate 17 offers an impressive and thoroughly entertaining sprint through warehouse-friendly house, bleep-laden tech-house, wonkly acid and forthright techno, with a couple of shuffling electro jams thrown in for good measure. Pleasingly, they've also secured a wealth of previously unreleased tracks, including contributions from Marco Resman and Clint Stweart, and their own unheard hook-ups with Slam and Vincenzo.
The Dutch producer proves his versatility on this collection of original productions and remixes. "Rub Me", with its suggestive vocals, churning chords and dark techno pulses sits in stark contrast to the recoiling, garage-style bass and breakdown-heavy "Dextro". Meanwhile, the Amesz & Ruell re-work of "Work This" delivers an unusual combination of tribal techno drums and a ghetto-style 'work this pussy' vocal sample and "The Glimmering" explores the space that Technasia once occupied, with a jacking, stop-start rhythm underpinning insistent, filtered chords. However, probably the best measure of Amesz' prowess is the fact that he can turn Laurent Garnier's "Man With The Red Face" into a cowbell and break beat-led workout without sounding cliched.