Review: Bonn based Dominik Eulberg made his name in the mid noughties with some seminal releases during said era's minimal boom over a decade ago on labels like Trapez, Cocoon and Traum Schallplatten - being a stalwart of the latter with a couple of dozen releases for them over the years. Eulberg has mainly appeared of late on his own imprint Apus Apus but finds time for a rare outing outside of it for the revered Kompakt imprint based in nearby Cologne. Dominik Eulberg presents two choice cuts from his forthcoming fifth studio album entitled Mannigfaltig: a burning plea to preserve the breathtaking biodiversity of nature. It's classic Eulberg all the way, from the slow burning and evocative groove experience that is "Goldene Acht", through to the uplifting tones of "Neuntoeter" with its intricate layers of bell tones that soon give way to a brooding stromp for the main room.
Review: The first release on Apus apus is nature-themed. This is hardly surprising, as Eulberg, a former park ranger, has consistently focused on this subject throughout his musical career. Featuring pictures of birds on the cover, Bienenfresser & Blauracke offers musical drama on the inside to match even the most vocal dawn chorus. "Bienenfresser" is somewhat ominous sounding, thanks to the detuned central riff that weaves its way over waves of epic-sounding bass. It's a wonderfully atmospheric arrangement, and is almost matched by "Blauracke". There, the German producer conjures up a synth line as majestic as the Black Forest at dawn. Unfolding over a glitchy rhythm, it's an impressive piece of electronic mood music.
Review: The nature-loving German producer delivers one of his most diverse releases yet. "Die Blaue Sekunde" is the most typical Eulberg track on offer here, with glitchy percussion fused with a melancholic bassline and ponderous synths to create a trancey sound that is as colourful as a walk in Bavaria during late autumn. The title track also features glitchy percussion, but on this occasion, it underscores a low-slung rhythm, and huge blasts of psychedelic synths emerging from the tangled rhythmic wreckage. Offenbach also reveals Eulberg's more mellow side, and both "Mikrorogasem im Morgentau" and "Als Er Den Gleissenden Rand Seines Schattens" are gloriously mellow pieces, fashioned using neo-classical piano lines and laid back, wooden beats.
Review: German producer Dominik Eulberg has always brought his fascination with nature and the outdoor life to his recordings - he is a park ranger during the day time - and the title track here, a gentle, pastoral ambient arrangement, sounds like he means to continue in this vein. However, Eulberg quickly shifts direction and the listener is treated to the menacing tones of "Das Neunauge" and "Der Tanz Der Gluehwuermchen". Less frenetic than previous Eulberg releases, there is nonetheless a sense of menace in the former's throbbing bass and the latter's trancey melodies are served ice cold. However, the most telling proof that Eulberg hasn't got bogged down artistically comes on "Die 3 Millionen Musketiere". There, he combines his love of dramatic melodic sweeps with glitchy percussion and a breakbeat rhythm powered by live, crashing drums.
Review: Riley Reinhold's selections never fail to impress and Tour IV is no exception. On this occasion, he succeeds in uniting elements as disparate as the ambient washes of Mark Reeve's "Moving Horizons" and the high octane, trance-fuelled groove of Richie G's remix of Microtrauma's "Sturation". In between these polar opposites sit timeless tracks like the delicate chiming bell melodies and powerful bass of Dominik Eulberg's "Die Strandmieze Von St Peter-Ording" and the chord-heavy, spiralling melodies of Microtrauma's take on Minilogue's "Let Life Dance Thru You". Traum may also have an unlikely hit on their hands in the shape of Hot Chip's hushed vocal and acid-tinged version of Eulberg's "H2O".
Review: The German label is 12 this year, but as it faces into its teenage life, it retains the same hunger for new music. Get Physical owner DJ T delivers one of the compilation's highlights, a stab-heavy techy take on John Tejada's "Timebomb". Like a slowed down take of Dave Clarke's "Red 2" infused with disco riffs, it sets a high watermark. Nonetheless, T faces stiff opposition from The Martinez Brothers, whose "Issshhh" is all tough percussive volleys and insistent chords, like a tough take on Levon Vincent. Elsewhere, new acts like Siopis and Gorge impress with drum-heavy tools, while old hands Tiefschwarz deliver a spaced out, bleep-heavy version of John Monkman's "Follow Me".