Review: Marking their one hundredth release, ePM pull out the stops with this unmissable remix package. Shed reworks Regis' "Beyond the Reach of Time", turning the Downwards founder's droning techno into a dreamy affair. CYRK is tasked with remixing Freddie Fresh's "ProMars", with the interpretation centred on warbling acid and crisp 808s, while in contrast, the Inigo Kennedy version of Bryan Chapman's "Io" is a dense affair, powered by heavy kicks and populated with sludge-like textures. It's followed by the Works of Intent take of UK veteran Paul Mac's "Nothing Remains". Led by a grinding bass and warbling melodies, it makes for a hypnotic end to an exemplary release.
Review: With 20 years spent releasing, distributing and representing techno and electro's finest producers, it's fair to say that ePM is a true champion of the underground. That commitment comes into sharp focus on EPM20, which brings together music from all of the Eps that the label released over the past year. The listener is really spoilt for choice: Regis delivers the beautifully ghostly techno of "Beyond The Reach Of Time Pt 1", while Robert Hood keeps the mood mysterious on the aptly named "Shadows". While the compilation spotlights prominent producers, it also showcases artists who sometimes fly under the radar - on this occasion, it's Paul Mac with the drum-heavy "Nothing Remains" and Carl Finlow's nocturnal electro on "Optogenetic". The fact that it's dedicated to the sadly departed Tim Baker is also a lovely touch.
Review: With releases on Illegal Alien and his own Monotony imprint to his credit, Bryan Chapman now steps up with a killer EP for London's ePM. Featuring Chapman's distinctively dense and tripped out style, it moves from the rumbling, layered groove of "Kala" into the higher-paced "Nimrala", where he effectively deploys a cacophony of chiming bells against a rough rhythm. "Ulu" sees Chapman descend down the wormhole again with droning textures and a powerful supporting rhythm, while he changes tact on closing track "Mato". Slowing down the pace, considerably, the low-slung groove is swathed in grimy dungeon acid textures.
Review: There must be something in the water on England's south coast. Since the 90s, it has been home to mavericks like Cristian Vogel and the No Future crew. The latest artist to emerge from this area is Bryan Chapman, who has released on labels like Cari Lekebusch's H-Productions and Alan Fitzpatrick's 8-Sided Dice. Monotony is Chapman's own imprint and he launches it in fine style; "Dawn Of Sila" is a deep, hypnotic pulse, underpinned by acid and inspired by Sandwell District. "Arsenik" is in a similar vein, albeit with a more stepping groove, but when Chapman departs from convention, he produces truly distinctive work. In particular, the filtered, abstract tangle of rhythm and noise that comprises "Isserley" is inspired by the finest south coast techno traditions.