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Older articles

A Thunder Orchestra – Shall I Do It? (Mick Wills Reconstructions)

by on at 09:34am

A mixture of serendipity and surprise defines this release. Bio Rhythm, usually a label associated with owner Paul Du Lac’s Chicago-inspired sound, has commissioned new school edit king Mick Wills to provide new versions of A Thunder Orchestra’s “Shall I Do It?”. The project is one of New Beat artist Dirk De Saever’s and this release comes around the same time another notable practitioner of that ’80s form, Ro Maron, has unleashed a retrospective of his work.

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Gonno – Obscurant

by on at 09:14am

It’s been some four years since Gonno last appeared on International Feel, though the Japanese producer has hardly been idling. Following that EP – a typically enjoyable EP that touched on both melancholic, analogue-heavy acid house and drifting, guitar-laden ambience – he’s plied his wares on Niteless, Endless Flight, and most notably, Beats In Space. His 2013 The Noughties EP for Tim Sweeney’s label offered a neat summary of his career to date, layering rough, often melodious analogue synthesizer lines on top of raw deep house grooves, throbbing dub techno textures and sensual ambient chords. This return to International Feel features some of his regular tropes – analogue-sounding electronics, picturesque tunefulness and a fearless commitment to mood-enhancement through music – even if they are packaged in a far more glassy-eyed, Balearic way.

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T. Esselle – Garibaldi EP

by on at 09:36am

Emerging from the buoyant scene of labels and events orbiting around Peckham at this particular moment in time, Wholemeal Music has been an active force in London for the past few years putting on parties featuring the likes of Simbad, Floating Points, West Norwood Cassette Library and Leif amongst many others. Now the team responsible make the leap to vinyl with one of their own at the helm, and it comes on like a refreshing breeze in the deluge of grubby house and decrepit techno. T. Esselle has no previous discography to draw on, but one could easily wager that a strong diet of UK-centric broken beat has informed the style he employs here.

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FIT Siegel – Carmine

by on at 09:16am

When this writer looked at the state of Detroit house music last year on Juno Plus, there was no mention of Aaron ‘ FIT’ Siegel and his FIT Sound operation. In retrospect, it was a glaring omission; not content with releasing and distributing the city’s finest house and techno, Aaron is also becoming a respected producer in his own right. Having debuted on Omar-S’ FXHE label and his own FIT Sound back in 2012, Siegel then released the excellent Cocomo last year. A thing of wonderful beauty, it married wispy, new age melodies with raw house beats and rattling drums – and sounded like Kyle Hall getting cosy with Vangelis.

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Broken English Club – Scars

by on at 09:21am

Oliver Ho has followed a curious musical trajectory, from tough tribal techno through the experimental and house sounds of Raudive and now the post-punk and industrial-influenced Broken English Club. Unlike many of the UK techno producers who came up during the ‘90s however, Ho has always been interested in experimenting and looking beyond the dance floor – witness the Light & Dark series also released during the late 90s to mid-00s at the same time as his dense techno was gaining traction.

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DJ Overdose – Master Control

by on at 15:18pm

Murder Capital was in the spotlight last year thanks to the release of Gesloten Cirkel’s debut album, but it looks like 2015 is the turn of I-F’s other, more prolific label to get the attention. Apart from reissues of Cliff Lothar’s White Savage debut and I-F’s own evergreen Space Invaders, the label is also due to release a second installation of the Test Pilot series and also has this EP from seasoned producer DJ Overdose aka Jeroen Warmenhoven.
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Nightdrivers – Nightlights

by on at 17:45pm

With their fingers in a multitude of different pies, the Nightdrivers pairing of Rufus and Mass_Prod return to their self-titled imprint to fire up another round of insistent, floor-focused wares that further shape out the image of urban, nocturnal dance music that sits in a cinematic time-slip somewhere between classic and contemporary. From the name to the imagery on the sleeves, there is a feeling that a concept lingers behind Nightdrivers, guiding their hands when they take to the studio and radiating out of the finished product. Previous releases on Bosconi and Claap may have hinted towards this, but previous self-released 12” Nightvisions and this new trio of tracks seem even more tailored to the situation.

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Helena Hauff – Lex Tertia

by on at 10:13am

After Actio Reactio announced her arrival in the recording world via Werkdiscs, Helena Hauff now finds herself in an interesting position creatively some two years later. The Hamburg resident is unquestionably part of the analogue revival, with a devoutly hardware live jam studio method that pushes up against the limitation of ubiquitous devices such as the 808 and the 303, and the instantly-recognisable character of such machines positively surged out of her early releases. Last year’s Return To Disorder release for Panzerkreuz still came from a long line of drum-focused hard-as-nails acid techno, but really the secret of Hauff’s success to date has been in her particular way of processing those sounds and layering them up with an industrial attitude that speaks more to the punk roots of the style rather than the icy mechanisms of sound design that abound in the work of other artists.

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51717 / Silent Servant – Jealous God 006

by on at 09:19am

The sixth issue from the Jealous God label sees them take a musical leap into the left field. Previous releases on the label had been accompanied by mix CDs that facilitated the exploration of abstract sounds and ideas. Now that approach takes centre stage and occupies the vinyl release itself. Joining label owner Silent Servant is 51717, an alias for Lili Schulder, who has released on Opal Tapes and who the more observant reader may have noticed releases as part of Shadowlust on L.I.E.S. together with Svengalisghost.

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Domenico Crisci – Ceremony

by on at 16:02pm

Domenico Crisci entered the scene seemingly out of nowhere last year with records for Russian Torrent Versions and L.I.E.S. How did that happen? He stated in an interview that a friend in New York City played Ron Morelli some tracks of his and the rest, as they say, is history. The Old Candelabra 12” led to the brilliant follow up on Russian Torrent Versions and now Crisci adds Marco Shuttle’s Eerie to his growing discography with more late night, peak time DJ tools.

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Steve Legget – Aquarius

by on at 09:34am

“This one is for The Tree, Baskerville Hall. RIP,” reads the B side run out groove of the newest installment in the Apartment Records story. It’s a nod to a Lebanese Cedar that suffered at the hands of a storm at the Welsh venue where the Freerotation festival is held every year, leaving attendees pining (no pun intended) for a much loved arboreal presence at the intimate event. Look no further than “Cedar Of Lebanon/Spongy Tree” by The High On Wye Quintet for more proof of how much people loved that gosh darned tree. The point is, this record seems positively birthed from that particular gathering, with Steven Legget (who makes his debut appearance here) a regular attendee alongside Apartment boss man Kenny Hanlon, while Mark Hand performed his remix of “Aquarius” during a live set on the Saturday afternoon.

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Mix Mup – Skip Intro

by on at 15:11pm

Mix Mup is often mentioned in the same breath as Kassem Mosse. This isn’t entirely without good reason, and for a pair of longtime friends and collaborators, perhaps it’s even to be expected. Their mini-album on The Trilogy Tapes is regarded as a modern-day classic by those in some circles, and its popularity has certainly encouraged the automatic mental association of MM and KM among listeners. As anyone familiar with Mix Mup’s solo productions will readily attest though, it’s a wonder the Leipzig artist has remained more or less under the radar for this long. For over a decade, Lorenz Lindner has crafted a delightfully diverse string of 12”s. It’s been in the last few years that he has really excelled, most notably with the woozy grooves and clattering intensity of After The Job for Hinge Finger in 2013, or in the potent, rippling dub textures throughout Drive-By on Mikrodisko the year prior.

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DJ Slugbug – Untitled

by on at 10:37am

Slugbug sounds like it could be a particularly effective garden pesticide, but the reality is that this new artist is the latest addition to L.I.E.S. roster. Whatever your opinion about the volume of music released on Ron Morelli’s label and the quality control procedures in place, it does provide a platform for such new talent. This Untitled 12”, along with a concurrent outing on Russian Torrent Versions, is DJ Slugbug’s first release. Like Tzusing, another recent addition to the L.I.E.S. cause, Slugbug looks back in time to mine ‘80s sources.

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D.K. – Love On Delivery

by on at 15:32pm

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Some of electronic music’s most consistent labels of recent years have traded on the interplay between dark and light, alternating between releases that chill the blood, dumb the senses and soothe the soul. Top of the list is arguably Quentin Vandewalle’s Antinote, whose releases are getting increasingly hard to predict. On one hand, you have the murky, industrial-influenced electronics of Nico Motte, the spaced-out synthesizer experiments of Stephane Laporte and the murky techno rhythms of Iueke; on the other, the humid, tribal-influenced tropical compositions of Albino and the shimmering, rave-era rush of Geena. It’s as if Vandewalle is a man of schizophrenic tastes; half of him wants to embrace misery, the other half run down Parisian streets naked, while feeling the love-for-all effects of particularly strong MDMA.

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E.R. – Qen Sew

by on at 09:32am

Addis Ababa via Washington DC. Displacement and nomadic migration is a pretty common contemporary existence at this point – particularly amongst a creative sector – but it’s surprising how much music still fails to deliver as a biographical narrative for changing places and cultures in a successful and involving way. What is so successful then about Qen Sew that makes it feel such a breath of fresh air? There’s vigour to E.R. (Ethiopian Records) that provides an immediate and refreshing clarity for one thing. Though the layout of a track might be addled, it is never uncomfortable in terms of positioning – introducing complex layering and polyrhythmic sequencing as delightful touches.

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IA Bericochea – Wake Up

by on at 09:05am

The name IA Bericochea won’t mean a great deal to anyone who wasn’t actively embracing minimal techno around the time that M_nus records was at its creative peak in the mid noughties. The Spanish producer certainly didn’t garner the attention of those in Hawtin’s inner circle, and after self-releasing an album on his own Rojo.IT imprint there has been very little to hear from the man. However those early releases, most notably the A single with its two ultra-reduced mournful reflections, struck a chord with some who could see the timeless qualities in the music far beyond the hype-baiting trends that were going on all around the minimal techno scene at the time.

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Various Artists – Workshop 21

by on at 09:25am

The Workshop Records release schedule moves in line with its content, unfurling with a slow and unpredictable quality, issued with the same minimum of fuss whether it’s a new album from Kassem Mosse or a live recording of Magic Mountain High. It’s a curious identity the German label has carved out for itself, maintaining a definite stylistic cohesion even as it seems to carry all sorts of different sounds.

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Entro Senestre – ES

by on at 09:23am

It may be in not be officially affiliated with the WT Records release itself, but this simple YouTube video for Entro Senestre’s “Rosegold” captures the essence of the track more perfectly than any review could; a looped Bart Simpson, eyes closed and dancing, lost in the moment as that dreamy piano plays out. There is nothing especially new to this track within the context of current trends in house music, but the way it is executed is truly memorable. Recent Terekke productions, but with some of haze wafted away, is a good way to describe “Rosegold” and the more I listen to it, the more it becomes clear it’s a track that will never tire.

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Herva – How To Mind Your Own

by on at 09:14am

Given their much publicized “no style” ethos – a neat way of avoiding the perils of preconceptions – it’s unsurprising the latest All City release comes from maverick Italian producer Herva. His 2014 debut album, Instant Broadcast, was something of an off-kilter classic, trawling through a myriad of contrasting influences with frankly weird results. That it not only hung together brilliantly, but also sounded terrific, is testament to both Herva’s growing confidence, and his ability to infuse tracks with a genuine sense of tipsy otherworldliness.

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Rezzett – Goodness

by on at 09:43am

One of the best things about the insurgence of low fidelity, punk-like house and techno from the last few years is that it’s reflected the ongoing leveling of status and skill through access to tools whilst simultaneously railing against linear, canned computer music with the nasty bits ironed out. The music is antagonistic – but often also gleeful, playful; indicative of a willingness to mess with the rules and pull cheap or arcane tricks to achieve. Sure, the online tutorials on how to fake tape-hiss in Ableton might yet stand as an enduring monument to the movement – but in a climate where we’re drinking out of mason jars and seemingly rolling towards a bourgeois engagement with faux ‘vintage’ and faux ‘artisanal’ maybe that has a fair currency as a mirror on contemporary cultural interest.

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