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SW. – Reminder Part Three

by on at 06:00am

After the mulchy beatdown of PG Sound’s six-track Untitled 12”, the wonderful SUED label returns with the third annual Reminder from co-founder SW. and with it another round of refreshing house and techno. In the rare public showing that was Will Lynch’s SUED feature on RA earlier this year, SW. was described as “the techno side” of the label by his co-founder SVN, and the Reminder series has so far qualified that statement. Arguably, if you wanted to introduce a newcomer to SUED, you’d pull out one of the Reminder 12”s by SW. which marry the unconventional nature entrenched in the label’s DNA with a strong 4/4 pulse.

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Tropic Of Cancer – Stop Suffering

by on at 09:59am

Stop Suffering, the first release from Carmella Lobo since Tropic of Cancer’s 2013 debut album, Restless Idylls, completes the transformation from grungy, primitive techno to ethereal intimacy. It’s all the more easy to trace that progress thanks to Blackest Ever Black re-issuing some of the band’s first tracks to appear on Karl O’Connor’s Downwards label at the same time as this new material. The music on The Dull Age 12″ covers the period when Lobo’s former partner, Juan ‘Silent Servant’ Mendez, was still involved in the project and his involvement was clearly audible. Restless Idylls saw Lobo stripping the Tropic of Cancer sound of most of its techno vestiges, while Stop Suffering goes a few steps farther to remove the last remaining elements.

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Marvis Dee – Sailing Over the Alpha Moon

by on at 16:07pm

Marvis Dee sounds like a cleaning lady from the perennial misery soap opera that is Coronation Street, but in reality, it’s a new project from the artist who also releases under the name Jeremiah R. Expect to hear a lot more about Dee over the coming months thanks to the release of Sailing Over the Alpha Moon, followed by a 12” for new Irish label Lime Street. The Jeremiah R sound focuses primarily on angular, introspective electro and there are a lot of similarities between the two projects.

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Alvin Aronson – City EP

by on at 09:48am

Until he popped his head above the parapet last year with a couple of well received remixes, Alvin Aronson was arguably best known for designing a brilliantly simple clock that cleverly fused analogue and digital time-keeping technology. While he was merely a product design student at the time, the clock made quite a stir. More significant, musically speaking, was his conversion to the techno cause during his student days; not just because it offered a chance to continue his fascination with the point where analogue and digital technology meet, but also because it put him in contact with Rhode Island native and White Material co-founder DJ Richard. Aronson, now based in Brooklyn alongside another long-standing friend, Galcher Lustwerk, has been a member of the extended White Material family ever since. It’s no surprise, then, that White Material is releasing his debut single, the quietly confident and occasionally impressive City.

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Ziro – Lionheart

by on at 09:25am

“Wot Do U Call It?” asked Wiley in 2004. The MC posing a question about our necessity to give names to musical structures. What then was in the making, is today called grime. The genre’s shape has nevertheless been changing since it came up in the early 2000s. It has been carrying the four-to-the-floor feeling of 2-step and garage, held the spacey bass weight of its relative dubstep or heavy rolling basslines of trap while keeping its rough form and DIY character. With the instrumental side growing and moving in different directions, the experimental factor of grime can be heard on Ziro’s new EP for Crazylegs.

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Japan Blues – Stoned Bird

by on at 09:47am

Given the intensity and robust nature of much of Berceuse Heroique’s output - think post-apocalyptic techno, drenched in analogue hiss, seemingly aimed at confirmed misanthropes  – their occasional forays into re-edit territory seem deliciously out of place. This was particular apparent on the first two Brasserie Heroique Edits 12” singles, which dropped simultaneously last September. The first featured gritty, chopped-up reworks of a Caribbean disco classic from Duster Valentine and Jamal Moss (the latter under the Members Only guise). While the grainy, off kilter aesthetic showcased on both reworks was in keeping with the Berceuse Heroique ethos, they still seemed a little out of place.

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Shine Grooves – Tumannost EP

by on at 08:57am

There has been much talk over the last couple of years of an “ambient revival”. It’s true that the volume of ambient releases has increased exponentially in recent times, with producers spotting an increased audience for worthy, academic experimentalism and dreamy, space-obsessed gear that pays tribute to the style’s early ‘90s boom. Arguably of more interest, though, are those that mine the fringes of the early ‘90s sound, which joined the dots between the spacier end of Detroit techno, new age synth music, Larry Heard deepness, Pete Namlook’s horizontal explorations and the so-called “intelligent tecno” of B12, Jonah Sharp, and The Black Dog. Throw in the ambient house/techno hybrids pushed by Japanese producers such as Yuji Takenouchi, and you have a rich melting pot of rich, evocative, otherworldly influences to explore.

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Heinrich Dressel – Lurking Underwater

by on at 09:04am

Heinrich Dressel sounds like he should be hidden away in a laboratory working on a top-secret astrophysics project, but in reality he’s an Italian electro producer whose real name is Valerio Lombardozzi. Responsible for an impressive six albums so far, Dressel is most closely associated with his Minimal Rome label, although he traces his roots way back to the early ’90s illegal rave scene in the Italian capital.

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Maoupa Mazzocchetti – Untitled

by on at 09:43am

Grinding. Dense. Lo-fi. Dusty. Some of the words that first come to mind when describing the recent work of Belgian producer Florent “Maoupa” Mazzocchetti. Bursting onto the scene seemingly out of nowhere last year with his debut A-Tranquility on Berlin’s Unknown Precept, the young Brussels based producer is now on to his third release this year, following up with a sequel to last year’s release, A-Morality and inaugurating local imprint PRR! PRR! with the brilliant 14.07.A7. He now makes his debut on Berlin’s Mannequin Records, quite a sign of approval considering Alessandro Adriani’s penchant for mainly dealing with re-issues.

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Boneless One – GYRORIDE001

by on at 09:55am

As befits a spin-off project from Tabernacle, there is scant information about the artist that is launching Ride the Gyroscope. All we know about Boneless One is that he comes from Finland and has put out a few low-key releases in the past. Like the Head Front Panel series and much of the mothership label’s approach, there is a refreshing lack of spin or sales technique here, and apart from the somewhat psychedelic inlays, the focus is on the music.

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STL – Listen Up

by on at 16:47pm

Over the course of 14 albums and over 30 EPs, the prolific Stephan Laubner has given vent to his distinctive, singular sound under the STL guise.  Although the German producer’s lo-fi drums and devotion to loopy arrangements represent one side of his musical identity and endear him to the more discerning minimal DJ, he is also capable of making music with a much wider appeal. The best-known articulation of this skill came on 2009’s Silent State on Smallville, a record that was in keeping with his repetitive approach, but which had enough melody and musicality in its linear grooves to appeal to less adventurous ears.

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Robert Crash – Ultimate Traxxx

by on at 09:00am

DJ TLR’s Crème Organization was way ahead of the curve with its early championing of West Coast artists like Legowelt and Orgue Electronique during the early 2000s – can the label now do the same again by putting out Robert Crash’s music? A stage name for the Italian DJ and producer Fransesco Schito, Crash has put out records before on the rising Dog in the Night label. On this release, he points to new possibilities for that now maligned sound; minimal house.

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Edward – Birds

by on at 06:00am

Edward’s output always takes a while to process, his tracks never quite fully revealing themselves on first listen. Unpacking the different layers reveals hypnotic minimal house and techno jams that float along peacefully, the build up being ever so gradual. There’s both a light and an odd quality to his sound, presenting unexpected instruments and rhythms in a way that works really well. It’s music that’s made to dance to languidly in the blistering burn of the sun rather than processed in the dark confines of the club.

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Gesloten Cirkel – Murder Capital 11/12

by on at 10:30am

Russian producer Gesloten Cirkel’s debut album, Submit X, was last year’s most important long player. This is because it was the first album to connect a wide audience to the dark and grimy acid-techno-electro fusion that has been simmering away for over twenty years on labels like Guy Tavares’ Bunker, its sister Panzerkreuz and Murder Capital. Submit X was not by any stretch of the imagination a polished record, but it did distill much of the raw form energy from and provide some focus to the rough, distorted sound of those labels’ catalogues.

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Wada – A Castle Of Sand Pt 1&2

by on at 06:00am

If there’s a constellation of music worth discovering right now it’s the micro-verse labels like Acido, SUED and Sex Tags have slowly constructed over the past five or six years. Inside you’ll find the General Electro and Atelier Records dimension, responsible for both Busen and Adopo releases, and should you want to plunge further back in time and discover where much of this sound stems, there’s the now defunct Elektro Music Department. But conversely to that you have relative newcomers orbiting the periphery, like Club No-No, a Swedish artist making ‘rainforest techno’ with SVN, to PLO Man’s Acting Press, and Max Phifty’s Kimochi Sound label that’s commissioned remixes from SVN and fellow SUED co-founder SW. on those great UD records. But what about Wada? Why is no one talking about Wada?

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TMO – Insomniac

by on at 09:00am

It used to be relatively common practice in electronic music circles for hardware-embracing producers to record tracks in one go, jamming their boxes, usually samplers, drum machines and synthesizer straight onto DAT or quarter-inch tape. While this methodology was originally a product of the pre-software age, it has since been embraced by a wide variety of producers. Jonah Sharp’s first two albums as Spacetime Continuum, including 1994’s ambient classic Sea Biscuit, were both produced in this way, as were his collaborations with Move D under the Raegenz alias. Famously, Paul Woolford’s triumph of 303 abuse, “Erotic Discourse” also had its roots in a lengthy jam session, with the Leeds producer simply editing down the results afterwards.

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Cute Heels – Nepotism

by on at 09:44am


Colombia isn’t the most obvious place for a new electro producer to emerge from, but it’s where Cute Heels aka Victor Lenis used to call home. Now based in Berlin (where else?) Lenis follows last year’s Spiritual album on Dark Entries with Nepotism, the second release on new Glasgow imprint Schrödinger’s Box. The Colombian artist is in good company on the label, with Andreas Gehm responsible for the label’s first record.

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Leibniz & Credit 00 – Basement Toolz Volume 2

by on at 11:10am


Even if you tried really hard, it would be difficult to find two records that sound more unlike one another than the fourth and fifth Rat Life releases. While Swedish band The Pagan Rites’ Every Mauser & Browning had a dance edge at times, it was more focused on new wave guitars and lo-fi punk production. By contrast, the follow up release is all about the peak time.

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Max McFerren – Sipps

by on at 13:22pm


It’s turning out to be a pretty good year for Max McFerren. In the last nine months he’s delivered a murky chunk of dark, acid-flecked techno on Don’t Be Afraid, a pair of quirky, rave-and-UK garage influenced workouts for Allergy Season’s free Side Effects May Include compilation, and a typically kaleidoscopic, nostalgia-soaked cassette – under the arguably more familiar MCFERRDOGG alias – for 1080p. All bar the Don’t Be Afraid outing are colourful, cute and energetic, fusing his love of vibrant, vintage synthesizer sounds with breaks, samples and beats inspired by early British hardcore, sweaty rave-era house, and all manner of long-dead electronic genres. That all have sounded like nobody else is testament to his growing strength as a producer.

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Various Artists – Rhythms of the Pacific Volume 2

by on at 13:55pm

Various Artists - Rhythms of the Pacific Volume 2

While the attention heaped on Vancouver’s blossoming electronic music scene has left some of its tight-lipped practitioners a little perplexed – Pender Street Steppers, in particular, have admitted in private that they’re finding the attention a little baffling – there’s little doubt there’s something inspirational happening on the “Canadian Riviera”. Of course, we all now know about the collective of DJs and musicians behind the Mood Hut label, and the cassette enthusiasts that run the much discussed 1080p imprint. Less is known, though, about the crew behind Pacific Rhythm, an online vinyl mail order service turned record label, and now record store.

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