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Untold’s newly minted Pennyroyal label appears continuously more disposed towards the maniacal side of techno, delivering a third release of sinister and provocative sounds in as many months after a pair of wacky yet brutally functional chest-bursting EPs from J.Tijn. Boner M’s Kopkopkop is a release shrouded in its own ’90s glory – a merely external coating rather than a firm musical blueprint – where the Finnish native successfully extends the label’s UK tradition of ‘slice-n-dice’ techno.
Across labels like L.I.E.S, Opal Tapes, The Trilogy Tapes, Future Times, and now Anthony Naples’ newly formed Proibito imprint, it feels as if the market for vinyl-only lo-fi house music is becoming increasingly saturated. Unlike the reams of revivalist ’90s style house that is simply defined by a few tired signifiers however, the “lo-fi” element is often not what defines the majority of these records. Vancouver group Aquarian Foundation is the perfect example; despite the thick, grainy VHS fuzz that coats everything, it’s the rich collection of textures and influences that permeate Silent Teaching - their debut for London’s fledgling Going Good – that are what people should be focusing on.
Before 2013 rolled into effect it’d been almost 20 years since Patrick Sjeren’s last full release – on the short lived Fuck Pig Records – but if the title track to Work That Body is anything to go by, it certainly doesn’t sound like it. Sjeren is one of techno music’s more enigmatic characters; not in the sense he wears a mask and cape, working under a veil of anonymity, in fact it’s quite the opposite. Sjeren simply stopped making music after 1995 and resurfaced 18 years later.
Amsterdam label Dekmantel has enjoyed a slow but steady ascent to recognition, but with just 11 releases in three years – excluding last year’s 5 part anniversary series – they prove that it is better to release music that you feel than feel you have to release music. Overseen by Thomas Martojo and Casper Tielrooij, the label’s rise has been assisted by the fact their informal roster is populated by producers who also perform for them at their events.
Stefan Schwader is a stealthy character within electronic music. His output as Antonelli Electr. and The Repeat Orchestra (amongst other offerings) have amassed little more than a cult following, and yet they display a gift for unique and heartfelt house and techno that might see other artists exalted upon given the right promotional push. Schwader seems to possess a clear and concise vision within his various creative guises, each alias focused on a specific and consistent goal and operating with that rare mixture of prolificacy and high quality.
Whilst there’s been a lot (perhaps too much) made about supposed notions of ‘outsider’ house in the dance music media since the turn of the year, this latest record from Manuel Gonzales demonstrates the tag certainly does not apply to him. He returns to Don’t Be Afraid under the MGUN mantle following a breakthrough 12 months that included a debut release for DJ Semtek’s label as well as further 12”’s for equally respected labels in Wild Oats and The Trilogy Tapes.
Tim Keiling has blossomed as a producer since he first emerged with his particularly quirky brand of sonics in the late 00s. Emerging from the net label scene it wasn’t long before he was snapped up by the likes of 4 Lux and 3rd Strike for his unique and idiosyncratic approach to making house under the colorfully titled Erdbeerschnitzel moniker. If there is an obvious reference point in terms of Keiling’s school of thought in making music, it would most likely be the mixture of tongue-in-cheek nonsense and intricate production skills that typifies Akufen and his like-minded Canadians.
“There has to be soul in it, even if it’s ugly, fast and loud”. It’s a line pulled from Awanto 3′s bio, and an integral part of the ethos of the Amsterdam artist raised as Steven van Hulle, whose releases on Dekmantel, Kindred Spirits and Rush Hour have a knack for intertwining smooth and uncomfortable sounds in a prickly and pleasurable way. For every track that packs a feel-good block party neighbourhood funk, like 2010′s “I’m Cumming Baby” from Hulle’s For Five EP on Rush Hour, there’s a moodier other side, like the distortion-laden collaborations with Tom Trago as Alfabet that sounds like a lone bongo drum being led into the dark woods to be torn to bits by frothing distortion.
The long-promised Future Times debut of Kansas City producer Huerco S arrives, with the massive delays for the Apheleia’s Theme 12” symptomatic of pressing plant issues currently plighting many independent record labels based on the East Coast of the US. It’s an issue the label’s Andrew Field-Pickering discussed with us earlier this year, whilst a certain Ron Morelli amusingly ascribes it simply to “unbelievable incompetence”. For Field-Pickering and his Future Times cohort Mike Petillo these kind of delays must be the epitome of frustration, the nightmare scenario that prevents them from doing what they love doing – putting out 12”s – more so when there’s an even more delayed Steve Moore 12” and a Beautiful Swimmers long player also in the offing.
Techno is rarely as thrilling as when it shocks and surprises upon repeated listens. After all, that’s what the genre was built upon; a futuristic mantra that sought to push forwards and expand the emotional and creative horizons of electronic music. Of course techno as a defining tag can mean many things in this day and age, from granite-hewn monochromatic slammers to beatless, synth-drenched sound baths, but this new record from Stellar OM Source seems most closely aligned with the lysergic funk of Juan Atkins in his earliest form, back when techno was a much more compact concept.
Whilst Terekke fits in on L.I.E.S. as part of the cast of unusual suspects that have come to prominence since the label emerged some three years ago, his soft, smudgy productions have a certain magical quality that’s quite separate from the thrusting, relentless Dance Mania-inspired immediacy of Delroy Edwards, the deranged sonics of Svengalisghost, or Steve Summers’ current lopsided techno manifestation.
What Sandwell District started, Rrose is developing further through the Eaux label. That’s the sense one gets from “Waterfall (Birth)”, the most contemporary-sounding track on Waterfall Variations. In essence with “Waterfall (Birth)”, the mysterious artist has furthered the tunneling, droning sound of the collective, stopping along the way to take in some influences from Mike Parker.
There’s always a timeless quality to Kevin McAuley’s music, with the half-life of last year’s Release double pack still lingering in the air even as the Hessle Audio producer is turning his hand to new ventures. The decision to found his own label in Hadal is an interesting one given that, much like Pearson Sound, his musical identity has largely been built around the bedrock of the world beating label they run with Ben UFO. In truth though, there are no rules per se to the sound on Hessle, and likewise on this new release McAuley sounds as exploratory and deft as ever.
The human voice is a powerful thing, but in recent dance music history it’s also a resource that’s wrung dry of its emotional resonance on a regular basis. R&B songs have found themselves especially subject to being transplanted into a range of electronic genres in recent years, whether Burial’s distorted interpolation of Ray J’s “One Wish”, James Blake’s manipulation of Aaliyah’s ”Are You That Somebody?”, or Blawan’s demonic pitch-shift of Brandy’s “Wanna Be Down”.
Locked away in the historic vaults of music lies a myriad of talent, ventures, projects and experiments; so many in fact that, as an active music seeker, you would be hard pushed to run dry of new discoveries for the rest of your days even if the last record came out tomorrow.
It feels like Joey Anderson’s daring and intricate house assemblages and Latency’s musical bravado were fated to meet for a short but utterly sweet twenty-five minutes in 2013. After all, both the New Yorker’s recognisable beat flex and the French label itself are only young contributors to the game, with the former having appeared on just over ten EPs in the last three years – a rather prodigious output compared to most of his other New York contemporaries – and the latter being on their second but already impressive release after last year’s magnificent Post Industrial debut from Hakim Murphy and Ike Release’s Innerspace Halflife project. All in all, two characteristically different spheres of music which are both young and raring to get their sound noticed and embedded into our neural pathways.
If you were ever to seek out a record that encapsulated what Unknown To The Unknown was all about, Ohm’s ’92 classic “Tribal Tone” may well be it. DJ Haus’ pet project of wildly careering rave fodder always keeps one foot firmly planted in the good old days, just as much as it charges ahead to celebrate the future-minded facets of electronic music, but importantly everything is underlined with a tongue-in-cheek irreverence that keeps things from ever getting too po-faced.
As the Houndstooth label starts to positively hit its stride after the sterling debut from Call Super, it’s interesting to try and ascertain the curatorial slant Rob Booth (of Electronic Explorations fame) is aiming for with the label. There’s a definite sense as this EP from Akkord unfurls that the quest is for the new and unconsidered in electronic music, which is not the easiest of remits to meet in these cross-pollinated over-saturated times.
2012 was undoubtedly one of Julian Smith’s busiest years to date. His October moniker graced records for a dizzying array of high-end labels, from Skudge and Apple Pips to Aus and Simple, not to mention his own TANSTAAFL imprint. Interestingly if not entirely surprisingly, all those labels shared some kind of commonality, all dealing in the strange and mysterious corners of contemporary electronic music with a euro-centric focus. Now Smith’s first solo release proper of 2013 sees a move away from neighbouring turf to instead link up with the Brooklyn-based Voodoo Down crew, a whole ocean away from any familiar stomping ground.
After close to a decade of running Perc Trax, Ali Wells finally succumbs to the temptation of expanding operations to include sub labels. Given the mother ship’s unpredictable path and its role in championing new artists, it’s no surprise that the first release on Perc Trax Ltd does not come from a household name.