Review: As the title suggests, this surprise compilation of exclusive material from Gerd Janson's Running Back label was put together in response to the killing of George Floyd, and in order to raise funds for the National Association for the NAACP's Legal Defence Fund. Given his connections, it's perhaps unsurprising that Janson has managed to tease out terrific tracks from the likes of KiNK (the sparkling, synth-laden goodness of 'Machine Funk'), Genius of Time (a fine dub of the dusty, ultra-deep late night hypnotism of 'Network Labyrinth'), Roman Flugel (the snappy analogue heaviness of 'Feel The Heat (String Mix)' and Tiger & Woods (rainbow-coloured deep Italo-disco jam 'Lonely Toad').
Review: Slowly is the second single to be taken from Dinky's Valor full-length, which rightly received plenty of plaudits on its' release in September 2016. In many ways, the track is typical of the album, blending as it does her traditional fuzzy house and techno elements (tough beats, pulsating analogue bass, occasional bleeps), with intricate musical flourishes (mournful pianos, harmonica, South American percussion hits) and a quirky, choral-style vocal. Matthew Styles kicks off the accompanying remix package with a more straightforward club re-make, before Radio Slave offers up two contrasting interpretations. "Remix 1" is a chunky, drowsy, late night techno take, while "Remix 2" turns it into a deep, breakbeat-driven ambient house era shuffler.
Review: Said to be created during "a personal journey through motherhood and pregnancy as an artist", Valor translates to 'courage' in Spanish. The album was produced in a studio built in the corner of her bedroom by husband Matthew Styles, where she was advised to stay for three months during a high risk stage of pregnancy with her second son. There are various moods and grooves on offer on the Horizontal boss and Panorama Bar resident's sixth album. There is the gorgeous vocal led and pop inflected first single "Casa", the sparkling and emotive deep house groove "Milk", slinky and shimmering tech house aimed at the dancefloor like on "Shooting Bodies" and on the album's most intense moment; the adrenalised deep techno jam "Valentino".
Review: You have to admire Ostgut Ton's ambition. While celebrating a decade in dance music with a compilation of exclusive, previously unheard music is now standard practice amongst leading underground labels, few would have the balls to release it with such a killer tracklisting as Zehn. Across the 30 tracks (count 'em!) you get a who's who of Berghain and Panorama Bar associates delivering a quite outstanding selection of left-of-centre techno and deep European house, with Marcel Dettmann, Boris, Virginia, Steffi, DVS1, Martyn, Tobias and Ben Klock all featuring. Highlights naturally come thick and fast, from the spacey electronics, heady textures and hypnotic rhythms of Function's "DX3 Analog Bass Seq", and the rush-inducing, string-laden house warmth of Matthew Styles' remix of Dinky's "Planes", to the picturesque intelligent techno of Doms & Deykers.
Review: Last seen on Ostgut Ton back in 2011, the wonderfully monikered Dinky resurfaces on Visionquest with the Fallen Angel EP which precedes the release of Dimension D, her fifth studio album which has been mixed and co-produced by Matthew Styles. Visionquest press notes claim the forthcoming long player sees the Chilean DJ, producer and vocalist evolve into a fully fledged singer-songwriter and performer, which makes Dimension D a perfect fit for the label. As a taste of what's to come, "Fallen Angel" excels, with Iglesias's ethereal vocal the perfect foil for the dark, rippling techy groove. Kudos to Visionquest for the remixes too, with the aforementioned Styles further finessing the original's darker intricacies whilst Pepe Bradock completely rewires proceedings in his own inimitable style.
Review: Visionquest and Dinky? We can't say it's a partnership we were expecting. "Teka" kicks of the Time To Lose It EP with bubbling vocal pockets, tight-tapping drums and a solid house/tech groove. "This Is Your Heart" on the flip is a playground of percussive rhythm and Dinky's expertise shines bright; smooth, punchy, warm yet spiky. "Time To Lose It" is the real killer, however, as it demonstrates something unexpected from both parties. Ethereal double tracked vocals, intricate, ambient electronic touches swaying in the background... it's pure headphone fodder and a surprising (but oh so welcome) addition from party kings Visionquest and Dinky herself, as a well known ambassador of dark, tumbling techno. Recommended.
Review: One of Damian Lazarus's main strengths as a DJ is that he understands the art of being a curator. It probably has a lot to do with his role as A&R for City Rockers and now his own label, but Lazarus is an expert at sourcing music that others may have overlooked and blending it with other gems. It explains why the fourth Get Lost is not full of big tunes on hyped labels, but instead contains the spacey house of Nitin's "Blink Twice", the 808 electro drums of Nico Purman's "Fade Away" and the seductive orchestral woodwind of Mario & Vidis Lazarus's "Kashyyyk" - an anthem in the parallel world where Lazarus reigns .
Review: It's hard to believe that Sven Vath's empire has been in existence for 11 years, but what's easier to comprehend is the label's unerring knack of releasing killer club techno. This compilation gives some of Vath's favourite artists - like Roman Flugel and Steve Rachmad - as well as newbies like Patrick Kunkel, who also provides a DJ mix, a chance to rework the catalogue. From Visionquest's murky but driving take on Dinky's "Acid in My Fridge" through the abrasive, jacking Flugel remix of Martin Buttrich's "Hunter", Carlo Lio's tribal take on Dubfire vs Huntemann's "Diablo" and the fist-pumping, big room techno of Paul Ritch's interpretation of 2000 & One's "Tropical Melons", there can be no doubt about this compilation's dance floor credentials.
Review: The German-Chilean producer and the label arm of techno Valhalla Berghain seem like uneasy bedfellows, so does signing Dinky herald a new direction for Ostgut? On the evidence of "Take Me", it does. The title track starts with breathy chords and loose, organic drums, before giving way to jazzy, filtered riffs and then moves into an undulating electronic disco groove. "Polvo" is of a similar summery disposition: filled with sensuous vocal samples and sassy Rhodes keys, it is underpinned by the same kind of loose beats as the title track. It's far removed from the world of chisel-jawed techno and suggests that Ostgut may be mellowing out.
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