Back Catalogue

Review: Stroboscopic Artefacts has consistently attracted a series of high calibre artists to its various releases, but Eternity showcases the secret weapon in the label's arsenal: Dadub. The Italian partnership of Daniele Antezza and Giovanni Conti already play a crucial role in Luca Mortellaro's label operation, mastering every Stroboscopic release, but their impact is even greater when they step from the shadows to deliver this their debut album. Fans of Stroboscopic Artefacts will find much welcome familiarity here, with the stepping rhythm and splurging bass of "Arrival" providing in one track a synopsis of the label's Monad series, while the dense, sub-bass led techno of "Circle" and the muscular, robust rhythms and walls of delay on "Life" and "Path" neatly define the label's predilection for re-imagining 90s Berlin techno. However, it is in the grey, unexpected places where Dadub really shine on this album. "Unbroken Continuity" is a collection of tropical blips, bleeps and squeaks disguised as an ambient soundscape. At the other end of the spectrum, the King Cannibal featuring "Transfer" descends into a snake pit of splintered, sulphuric rhythms.

Review: House music workaholic Daypak Solo presents his DPK series on one compilation. While he was labeled as just being a minimal producer, Colours shows this categorization is way too narrow. "Orange Skies", with its Reese bass, aching vocals and icy chords, sounds like next generation Detroit techno and "There Is Love" could be his own version of Levon Vincent's steely house, as a repetitive vocal sample is fazed in over rigid drums and a tracky rhythm. Despite these diversions, there is also no sign that he is relinquishing his roots and the Format B remix of "Child of the Night" is the finest example of the stripped back German house sound, replete with an elastic bassline.

Review: The harder end of minimal techno is the prevailing sound of Extraction. It's clear that Dare & Haste have closely followed Rob Hood's more visceral releases as well as the relentless assault of Jay Denham's Black Nation catalogue. These influences manifest themselves most audibly on the jarring riffs of "Emptied Hall", the jackhammer intensity of the title track or on "Fear Engineering", where a buzzing bassline accelerates the onset of an irresistibly gloomy techno groove. Added to these original compositions are some excellent remixes, including Chris Finke's dubby, acid-flecked take on "Extended Sink Device" and the eerie, isolationist minimal of Jake Conlon's version of "Residual Image Of Detroit".

Review: The Detroit-born producer now based in the United Arab Emirates has already been transmitted to the rest of the world through Civil Music, and Body delivers a full-length album to drag listeners head first into his dubbed out amalgamation of techno, house and bass music. Maverick methods abound, from tough swinging techno to beatless wonder, but all the way through Farah binds the wild ingredients together with a muggy tension that makes the album utterly engrossing. While the tempo and intensity switches between every track, there's an incredible consistency that holds the entire album together perfectly.