Review: Rotterdam's Bas Mooy is no stranger to a bit of techno given his involvement in the European scene as a DJ since the late '90s and as a producer since the early noughties. He's appeared on countless labels including his own Audio Assault, the dread Mote-Evolver, Perc Trax, and even for the more recent Mord. The flying Dutchman returns to the latter with four guaranteed floor missiles, the first in the shape of grainy 4/4 beats and ringing melodies under the name "Men On Wire", a tune that's rapidly turned even darker and more pumping by the no nonsense AnD duo. Over on the flip, "A Feast For Crows" bangs its 909 away left, right and centre amid chilling walls of electrifying sonics, while "Nearby Silent Horses" channels that fury into a more compact techno bombshell for the peak time. Tough and driving.
Review: Rotterdam's Bas Mooy has fast made a name for himself with stellar releases on Mord and Mote Evolver with yet another belter on Glenn Wilson's Planet Rhythm. The pounding and relentless groove of "Mannik" just nails that Berghain vibe so well. As does the peak time stomper that is "Toorn" with its persisting synth stab and rolling bass. "Fields" is a full frontal attack of arpeggiated madness accompanied by a menacing mechanical throb and the metallic hiss of 909 hi hats, but wait for the breakdown! Finally "Stiches" provides more mechanical brutality with an evolving perc rhythm which builds in resonance to a furious climax.
Review: It seems as though Dutch producer Bas Mooy is attracting a lot of attention from the UK of late, which may be due to a strand of British industrialism and EBM rearing it's head in a recent and brutal resurgence. This time Bas Mooy releases his The Room At The End ep for industrialist flag bearers Perc Trax. "Fasad" dispenses with broken beats, hollow synths and broken radio transmission vocals, while "Loaded" initially takes a similar shape to the sparked delays of Roman Lindau's "Borne", only to morph into a brooding dynamism similar in sound to early Stroboscopic Artefacts releases. "Pose" is a slab of functional club techno, teetering on the edge of dub techno with it's filtered saw wave gestures. The sinister alien synth line of "Kneel" is the perfect cue for a nightclub to dim it's lights to a dark shade of crimson - ideal Berghain fodder.
Review: It's strange to hear a techno producer playing around with the title of the Pogues' best album, but Rage isn't a typical club release. Sure, Dutch producer Bas Mooy goes for the jugular on every occasion, but not in a predictable way. "Kaayman" is as grungy and acrid as Shane McGowan's dental hygiene, with buzz-saw riffs cutting through the dense rhythm. "Son of Sins" travels down a different path, with what could be a vocal sample amid its pummelling tribal rhythm, an element that gets deeper and more ponderous as the arrangement unfolds. That's not to suggest that Mooy has gone soft in his old age and "Rage" is a mean serving of tribal techno, replete with a deranged air raid siren.
Review: Dutch producer Bas Mooy is one of the most talented hard techno producers, but for some reason, he doesn't get the acclaim that he deserves. Hopefully this release will help to address that situation. "Desolaat" is a killer track, its pumping groove underpinned by a dark acid line and dramatic filter sweeps. "Recoil" showcases Mooy's ability to work with seemingly disparate elements, as dreamy sound scapes unfold over a muddy bass and slamming, tribal beats. The remixers are also of a high standard. Xhin strips "Desolaat" back and turns it into leaner rhythmic workout, while the Radial take on "Recoil" is more slamming than the original, its heavy drums building to a bombastic climax.
Review: Luke Slater's label proves yet again that it's an indispensable filter for those seeking out hard-edged techno. "Howl" by Bas Mooy sets the pace, with a dense groove and pounding beats underpinned by a growling, predatory bass and rivulets of stainless steel percussion. Mooy's "Wesp" is derived from similar sources, but on this occasion the malevolent drums and shrieking riffs are paired up with a raw, growling bassline. Chris Finke's "Sleep When You're Dead" explores a new dimension, with a menacing bassline derived from the extreme end of ebm and industrial. But soon afterwards, Finke reverts to a purer sound and the clanking metallic rhythms of "Euphemism" complete the release.
Review: The heavyweight Dutch producer delivers a suitably slamming release for Glenn Wilson's long-running imprint. "Dolls" is all dense drums and abrasive riffs unfolding over a grainy bass. "Burn" is less upfront, with a trance synth its central focus, but behind this musical element there lurks a jarring rhythm. "Thood" makes no such concessions to musicality; howling analogue riffs spit out fire and brimstone as banging, metallic drums pound away in the background. But Bas Mooy has a more considered approach, which he applies on "Dust"; its drums are heavy but less driving, and the sonic bleeps reminiscent of Sleeparchive or Sahko.
Review: Glenn Wilson's long-standing hard techno label casts its gaze back to assess some of last year's highlights. Labelling Planet Rhythm as merely an outlet for heads-down tracks is somewhat misleading, and as this compilation shows, some of its best material comes from left of centre. Robert S' "Matos" is a chord-heavy groove with enough attitude to ensure it doesn't sound bland, while Samuli Kemppi drops one of his trademark bleep techno bombs on "Ant On A Rubber Rope". For those who like it harder, there's Giorgio Gigli & Ness' tunnelling "Resin" and Yan Cook's resonating "Shift", but the highlight is Mr G's "Binky's Groove", a loopy house number with the kind of tough beats and insistent vocal sampling that makes Colin McBean unique.
Review: This is Mord's most ambitious venture to date, with a box set of seven records laying out the Dutch imprint's tough techno agenda. Regulars like UVB and Radial set the tone, with the former dropping brutish kicks and jarring riffs on "Someone Calling Cut" and Radial veering into a pumping direction on "Cru".Label owner Bas Mooy moves the compilation towards a more streamlined approach with the dense, linear Klockworks-like "Owl In Daylight", but Herdersmat also shows that the label has succeeded in attracting some heavyweight international talent; Eomac's "Phisk" is a disorienting rave-flecked stepper and Sleeparchive drops the bleep-heavy bomb that is "Evicted".