Review: Conscious of the fact that Claude Young's return represents a major event in techno, ART have provided a second remix package of "Rapture". Label boss Kirk Degiorgio's remix is a peak-time affair, as stomping beats and a rolling rhythm underpin a liquid acid bass and glistening chords. More trancey than the classics on Sven Vath's Eye Q catalogue, Degiorgio's take is refreshingly different to modern drone techno. TJ Kong's version on the other hand is right on the pulse of contemporary electronic music. The beats are more stripped back; the central riffs shimmer with a metallic menace that is common to Dettmann's work.
Review: Those who have witnessed Claude Young scratching and cutting up techno records using his nose, chin and elbow will view the amiable Detroit native as a DJ first and foremost. The reality is that he also has a strong back catalogue of releases. That said, it has been a while since he put out any new material, but this collaboration with Takasi Nakajima marks a welcome return. Rapture is a classic Detroit cut, with a menacing bassline providing the basis for breathy, airy melodies. It recalls the vintage work of Aril Brikha or later period E-Dancer. The release also finds fellow techno traveler Ian O'Brien back in the fray, and his shimmering synths and rolling, rollicking groove recalls his 'Mad Mike Disease' classic.
Review: Reactions to the news that Marcel Fengler was going to mix Berghain 05 focused on the fact that he is the club's most overlooked resident. This is to do Fengler a disservice and to understand the club in the narrowest context possible. If anything, the trajectory Fengler follows here defines the broad brush strokes played out in the Berlin club. There's the eerie intro which moves from Dettmann's vocal version of Emika's "Count Backwards" into Peter Van Hoesen's spacey, bleeping "Axis Mundi". Classic sounds always form an integral part of Fengler's approach and this is evident on Octogen's widescreen yet menacing electro reshape of Terrence Dixon, the wiry 90s minimalism of Ratio and in the alternate version of Secret Cinema's chord-heavy early 90s classic "Timeless Altitude". In between these sounds, Fengler proves his technical prowess, moving effortlessly from the drones and broken beats of Dr Walker's take on Byteone and the Regis version of Tommy Four Seven's "G" into straighter, albeit bass-heavy techno and house from Duplex - remixing Gerd- and LB Dub Corp, who delivers a new, multi-layered take on Fengler's own "Thwack". Put simply, Fengler has that rare talent that most DJs lack - he can put together seemingly disparate tracks without losing the flow. The club he resides at provides Fengler with a blank canvas and this mix is his masterpiece.