Review: Following on from an appearance on Tresor's recent 30-year anniversary compilation, Donato Dozzy delivers a full release for the label. Underpinned by the storied producer's ability to tease hypnotic shapes from his machines, this EP is a mesmerising experience from start to finish. "Messy Kafka World" revolves around organic drums and percussion, with Dozzy conjuring up hypnotic synth lines in the background. Changing tact, "Synthi Chase" sees him piecing together layer upon layer of droning tones, while on "Wooden Dolls Don't Cry", he draws up a dense percussive framework as a backdrop for his subtle tones. The wobbling, woozy rhythm of "Cassiopeia 36" closes out this exemplary release.
Review: Acid Test has always forged its own path, and this independently minded aesthetic defines the music on the label's ten-year compilation. Lerosa's "Uneasy" and VC-118a's "Silver" are both engrossing, abstract affairs, while label mainstay Tin Man and John Tejada both deliver streamlined, pulsating takes on the acid sound. Delving into the darker corners of the 303, there's Achterbahn D'Amour with the raw, jacking "7 Edit" and Donato Dozzy's squelch fest, "Morena". Meanwhile, the rolling electro drums and subsonic tweaks of Sepehr's "Persian Acid Prince" further underlines the fact that when it comes to underground electronic music, few labels are more adventurous than Acid Test.
Review: As befits one of techno's most revered labels, Tresor 30 is a comprehensive collection that takes in a breath-taking array of artists and sounds. The compilation features classics, such as Underground Resistance's "Final Frontier", remixed here into a clubbier shape, the spellbinding deep techno of Juan Atkins' "I Love You" and Jeff Mills' timeless banger, "Late Night", one of Tresor's signature tracks. These eternal works sit alongside contributions from newer artists: in particular, Afrodeutsche's "Can't Stop" is a wonderfully dreamy affair, while RRoxymore's "Multiplicity" teases new twists from percussive techno. Thirty years after its inception, Tresor is showing no signs of slowing down.
Review: Dreamy Harbour celebrates 25 years of Berlin institution Tresor with several new and unreleased cuts by staples of the club and its seminal in house label alike. Featuring work of artists from the US, Germany, China, France, Austria, Italy and the UK, it is worth dwelling on how the cultural conditions that birthed Detroit techno (ie economic neglect and broken industry) were mirrored by the disused bunkers and impromptu parties of post-unification East Berlin. Techno a found new, vigorous expression. "Without Tresor, Berlin would not be what it is today," concludes founder Dimitri Hegemann. "Even though it sounds a bit pretentious, it is true. Tresor was the prototype for an extraordinary club. It was only possible as a combination of the right time, the right place, the right content and determined people." Excerpt of liner notes, by Rob Sharp - November 2016.
Review: Having spent much of last year cutting up hazy acapella vocals on the sublime Sintetizzatrice full-length on Spectrum Spools, Donato Dozzy returns to the dancefloor with a fine collection of techno workouts. He begins with the deep and sleepy riffs and shuffling rhythms of "Aurrora", before heading into tribal territory with the bass-heavy percussion workout "Ritmica". As its' title suggests, "TechTresor" is a rolling tribute to Berlin's longest-running techno club, while "The Drunken Ghost" is accurately named. Sitting somewhere between electro, techno and odd electronica, its' curious melodies and weird effects sound strangely like a ghostly figure stumbling around and knocking over furniture, while looking for its' next fried chicken fix.
Review: Italian techno doyen Donato Dozzy has long been a favourite at New York club The Bunker, and now he makes an appearance on the club's label. Staying true to the trance-led aesthetic that informs everything he does, "Quadra Sette" is a layered, dense affair, ebbing and flowing over limber break beats. "Quadra Nove" meanwhile is harder and more direct. Designed for the peak-time, it sees the affable artist lay down gnawing tonal bleeps, haunted synth lines and relentless percussive ticks. The end result is reminiscent of Mike Parker getting down with Richie Hawtin's FUSE project and makes for captivating listening.
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