Review: Label chief Ellen Allien returns to UFO Inc, bringing with her some fresh auditory space signals. The Rosen EP marks the sixth release from the label and features four tracks of pure form, emotive techno energy from the Berlin mainstay, and all in her inimitable style. From the off-kilter and contorted acid shenanigans of the title track, to the strobed-out peak time rave energy of "N2020", to the captivating atmosphere of "Kckc" (Epic Mix) with the its suspenseful ambient intro which soon builds to a pummelling crescendo. The latter track became a personal anthem of Allien's acclaimed balcony sets during the pandemic lockdown.
Review: To accompany Heiko Hoffmann's photography book of the same name, Above Board has compiled some of the best tracks to feature in Berlin clubs from the early 90s to nowadays. No Photos features the dramatic Detroit techno of 3MB's "The 4th Quarter" , while Mijk van Dijk and Tanith's 9-10-Boy project and Alec Empire's "SuEcide" capture the wide eyed rave of the early 90s. The compilation also features signature Berlin techno tracks - ss any record more closely linked to Hardwax/Berghain than the Maurizio Remix of Vainqueur's "Lyot"? -while the hypnotic bleeps of Sleeparchive's "Elephant Island" is a true minimal classic. Like the book, No Photos is expertly curated and executed.
Review: Ellen Allien has commissioned remixes of tracks from her 2020 album, striking a balance between well-known and emerging names. Hadone aka J?r?my Bonnet delivers a thumping tribal take on "True Romantics", while on a deeper tip, there's upcoming Dutch producer Keith Carnal's version of "Walking In The Dark". Peppered with 303 lines, it features a wonderfully twisted vocal. Meanwhile, Matrixxman drops a jacking take on "I Can't See You", with acidic bleeps unraveling over tough kicks, while Allien has also tapped Lady Starlight for a take on "Hello Planet Earth". In the Lady Gaga collaborator's hands, it turns into a relentless, heads-down banger.
Review: On its third and final instalment, We Are Not Alone delivers more cutting edge electronic music from the artists who guested at the party of the same name. This volume is hugely varied, ranging from Ryan James Ford's uplifting deep techno to the underground pulses of Lada's "Kassi" and Heidi Sabertooth's "Innergaze". Sounding a more visceral note is Henning Baer's "Nightwing Microlight" and the hard-jacking analogue banger "Basic" by Truncate, while Setaoc Mass' "Silent Tension" is led by cavernous drums. Sandwiched in between these dance floor burners are more offbeat pieces, like Cosmin TRG's gentle, downbeat "Sourde" and the wonderful drones of "Chaos Transition" from Adriana Lopez.
Review: The second instalment in Bpitch Control's compilation series gets off to a rousing start, with Rebekah dropping a pounding, hardcore-influenced techno track, "Last Summer". The same intensity levels are audible on Inhalt Der Nacht's "In Lust Verirrt" and Tham's "The Third Kind" but deployed differently, with both acts using swirling acid lines and blustery filters to arrive at the same destination. While keeping the focus on the dance floor, ebm influences loom large on "Herzschlag Der Figur" from German trio Die Selektion. The compilation also embraces ghetto techno as Andrew Moore delivers the slamming "That Makes Me So Horny" and big-room 303 mayhem on Alien Rain's "Dream Interceptor".
Review: This is the first in a three-part compilation series on Bpitch, named after Ellen Allien's party. This volume is an uncompromising collection that takes influence from 90s styles: Allien herself drops the buzzsaw, Heckmann-style "XTC", while Lady Starlight's mesmerising, acid-soaked "Re-15" occupies similar territory. On "Force Majeure" Introversion channels the energy of early Drumcode for a bombastic, drum-heavy workout and Nocow's "Let Em Fall" sounds like man update on DBX's minimalism, with a pared back, jacking rhythm paired with time-stretched vocal samples. Bpitch also deserves kudos for showcasing original techno innovators, and the he compilation includes DJ T-1000's pile-driving "Frequency Kill".
Review: The organisers behind German party The Third Room have responded to the coronavirus by setting up a label and tapping artists who played for them for the material on this split release. The proceeds from the sale of this EP will go to people who bought tickets for one of Third Room's cancelled events - a kind gesture. It's no surprise that the tracks on the compilation are reflective of the party's sound: Dax J and Obscure Shape & SHDW's contribution focuses on hard, fast acid; Inhalt der Nacht & Echoes of October drop the pile-driving "Beutezug" and even Ellen Allien's track is coated in ravey menace. The one exception to this approach is Hector Oaks's droning "Do You See The Light?"
Review: With a musical history that stretches all the way back to the early 90s, it's no surprise that Bpitch owner Ellen Allien has chosen to revisit the primal stomp of Chicago techno artists like Robert Armani and Mike Dearborn as inspiration for "True Romantics". Of course merely trying to copy a sound wouldn't be the veteran DJ/producer's style, and she covers this Djax-style tough rhythm with jittery, tranced out keys. There are no such niceties on "Hello"; instead of musical elements, Allien decides to drop a rough 303 line that runs riot over pounding kicks and a visceral rhythm.
Review: Berlin institution Watergate Records celebrates its 10 year birthday, with this special 50 track anthology of their favourite records. Over the last decade, the imprint has set a standard for captivating electronic music from across the house and techno spectrum, successfully mirroring the club's booking policy. Now up to over 60 releases including a remix of the Josh Wink classic "Higher State Of Consciousness" by residents Adana Twins, and the 26th installment in their acclaimed mix series by Danish legends Whomadewho - this compilation presents some of its most memorable cuts since its inception in 2008. Highlights come from: label staple Mathias Meyer - the Hanseatic hero presenting several tracks including "Love Letters From Sicily" with Ryan Davis, local legends Tiefschwarz on "Fire It Out" feat. Ruede Hagelstein, resident La Fleur getting remixed by Detroit legend Kenny Larkin on "Nightflow" and rising duo Adriatique's 7am remix of "The Spirit" by the ever impressive Butch (featuring Hohberg) amony many others.
Review: Bpitch owner Ellen Allien hands over tracks from her recent Alientronic artist album to be reworked. Apart from a new edit of "Love Distortion", which sees Allien remain focused on a pulsating groove, this is a collection of harder-edged interpretations. Terence Fixmer delivers a searing industrial take on "Distortion" which features noisy riffs, while on his version of the same track,
Introversion delivers a bruising, pummelling remix that has echoes of vintage Joey Beltram. Last but by no means least is the Regal remix of "Electronic Joy", which sees the fast-rising techno producer fuse merciless thunder claps with eerie vocal samples to create a dystopian masterpiece.
Review: This is Ellen Allien's eighth studio album, but she shows no signs of losing her edge, Right from the get-go on Alientronic, the listener is presented with the swirling ambiance of "Empathy", followed by the spiky electro of "MDMA". Fans of the Bpitch Control owner's heady techno will not be disappointed either, thanks to the inclusion of the frazzled "Bowie In Harmony" and "Love Distortion". "Electronic Joy" is also centered on the dance floor, but it sees Allien re-kindle her love of dense tribal techno, while "Free Society" revisits the glory years of German techno-trance. It serves to underline the fact that Allien's productions still have an edginess not tainted by the passage of time.
Review: Ellen Allien should need no introduction, the longstanding heroine of the Berlin scene for two decades as an acclaimed DJ who heads up the now legendary Bpitch Control imprint. Allien now introduces her new label UFO Inc. with this terrific inaugural effort that perfectly captures the energetic hardware sound of her new sound - which will be dedicated to a rough and raw approach to contemporary techno. Features the mentalist tunnel vision of the title track which will draw you deep into the vortex, followed by the powerful acid techno stomper "Korpermaschine" which adds to further tension and suspense - best enjoyed under the strobe light.
Review: The third set of remixes of tracks from Ellen Allien's Nost album feature an in impressive cast; first up is Detroit legend Alan Oldham. Known for his releases as DJ T-1000 and his iconic art for labels like Djax, this Motor City legend doesn't disappoint with his take on "Jack My Ass". Insistent, menacing chords swarm in over tough, dubby beats and driving percussion. It's not as intense as his DJ T-1000 work, but still packs a mighty punch. The Amotik take on "Mind Journey" ups the ante further with a slamming rhythm and wild tonal bleeps. In contrast, Eomac?s take on the same track is an eerie, slow motion affair, led by ghostly synths and rumbling drums, while on XDB's version of "Call Me", rolling house drums underpin sensuous vocals and spiralling acid lines.
Review: The third set of remixes of tracks from Ellen Allien's Nost album feature an in impressive cast; first up is Detroit legend Alan Oldham. Known for his releases as DJ T-1000 and his iconic art for labels like Djax, this Motor City legend doesn't disappoint with his take on "Jack My Ass". Insistent, menacing chords swarm in over tough, dubby beats and driving percussion. It's not as intense as his DJ T-1000 work, but still packs a mighty punch. The Amotik take on "Mind Journey" ups the ante further with a slamming rhythm and wild tonal bleeps. In contrast, Eomac?s take on the same track is an eerie, slow motion affair, led by ghostly synths and rumbling drums, while on XDB's version of "Call Me", rolling house drums underpin sensuous vocals and spiralling acid lines.
Review: Following the first set of remixes of tracks Ellen Allien's 2017 album - which featured Detroit luminary K.Hand amongst others - the Bpitch boss again casts her gaze wide and far. US producer Truncate delivers the loopy, big-room techno goods with his steely, percussive take on "Innocence", while Running Back boss Gerd Jansen turns "Call Me" into an early-90s themed hardcore meets house affair, its sirens wailing over raw break beats. FaltyDL is on hand to transform "Erdmond" into a spaced out, low-profile techno groove, replete with a command centre count down, while Raster Not on regular Kyoka goes for an frazzled, stepping take on "Call Me".
Review: It seems as if 15 years have just flown by since Berlin institution Watergate first opened their doors at the base of the famous Oberbaumbrucke, overlooking the River Spree and where long queues run down the street every weekend to get into one of the best clubs in the world. To celebrate their journey over the last decade and a half, they have put together a special anniversary release of 25 new, exclusive and formerly unreleased tracks. Residents of the superclub all appear, such as Hamburg native Matthias Meyer who teams up with Ryan Davis on the evocative "Hope", famed local duo Tiefschwarz deliver the slow burning and moody tech house of "Control", Sweden's La Fleur (of Power Plant fame) delivers the acidic bump and shuffle of "Femton" and former Stattbad resident and Beste Modus boss Cinthie gets deep on the classic house sound of "Hatschi Hatschi" which has a whole heap of swing to it!
Review: Allien released Nost earlier this year, and it was one the Bpitch boss' best albums. Now she has drafted in a heavyweight roster of artists to remix tracks from it. First up is Emmanuel Top, who is enjoying a resurgence in popularity. The French producer's take on "Call Me" sees him drop a slamming, metallic rhythm and turn Allien's vocals into a mysterious alien signal. Rod's take on "Mind Journey" is more functional than esoteric, and revolves around a dense, percussive rhythm, while Detroit veteran K.Hand also gets to grips with "Call Me". She goes straight for the jugular, dropping punchy drums and a pulsating, acid-heavy bass. Skudge are the final remixers on this instalment, and their version of "Mind Journey" is different again, its skipping rhythm full of atmospheric textures.
Review: Nost is Ellen Allien's seventh studio album, and it's the first one since 2010's Dust to focus on the dance floor. As each track demonstrates, this is the place where the Berlin DJ really belongs. The album begins with the rolling groove, pitch-bent male vocal and eerie synths of "Mind Journey" and the queasy bass of "Innocence", before Allien opts for a more raw option, audible on the stab-heavy "Jack My Ass" and "Call Me", which unfolds to rolling sabres and air-raid sirens. Unlike some of her previous albums, there is no high concept on Nost - as the firing, building techno of "Mma" shows, it is simply a collection of killer club tracks.
Review: Ellen Fraatz must be one of the hardest-working women in dance music. She's been making music for 20 years, now, and there's little sign of the quality dropping. There's predictably much to admire on this brand new three-tracker, from the melancholic chords, impassioned vocal wails and electro-influenced grooves of opener "Butterfly", to the wonky, late night tech-house assault of "Come To Me", whose distorted synths and sludgy bottom-end are complimented by distinctly foreboding chords. Best of all, though, is "Freak The Night", a jaunty fusion of deep house, acid and tech-house complete with warm, woozy chords, shuffling rhythms and punchy electronics.
We Love - "End Of The Night" (David K Holy Key remix) - (7:17) 123 BPM
Aerea Negrot - "Macuto" - (6:26) 124 BPM
Review: As its title suggests, the latest compilation on Bpitch gives vent to the label's deeper side. It begins with Chaim's "Rain", where jazzy textures bubble to the surface over dubby beats. The track has an ethereal, almost subdued feeling to it and is in stark contrast to the raucous minimalism that Bpitch is sometimes associated with. This understated approach isn't confined to Chaim's contribution however; even more dance floor tracks like the pumping bass of Cormac's "The Present" are teeming with emotive undercurrents and Kassem Mosse's version of Ellen Alien's "Our Utopie" sees a series of chiming bells prevail over a pumping groove.
Review: Berlin has by turns been a minimal, dubstep and purist haven over the past decade, but the latest release from Ellen Alien hints at something dingier. Taking inspiration from the low-slung rhythms and tape hiss of L.I.E.S, the Bpitch boss contsructs a grungy, acid-caked groove on her own edit of "Free Nation". It's a similar tale on "Delta Zoo", where violent bass licks lurch under grainy riffs and crackling percussion. If Alien's edits represent Berlin's seedy side, then Thomas Muller's versions of both tracks imagines a modernist veision of the German capital. Booming drums and dramatic claps fuel this approach, but the murmuring vocals suggest something untoward still simmers beneath the surface.
Ellen Allien - "The Kiss" (Jesse Perez remix) - (6:59) 120 BPM
Mr Statik - "Irresistible" - (6:29) 119 BPM
DJ Red - "Eyes Are Blind" - (7:23) 127 BPM
Douglas Greed - "This Time" (feat Kuss - RAW mix) - (6:50) 120 BPM
Snuff Crew - "Bass!" - (5:45) 124 BPM
Viadrina - "Lost Soul" - (7:04) 124 BPM
Camea - "Black Sparrow" - (7:56) 123 BPM
Silvie Loto - "Solstice" - (7:24) 120 BPM
Safety Scissors - "My Best Ideas" - (5:40) 120 BPM
Review: Listening to this compilation, it's clear that 2013 was a banner year for Ellen Allien's label. No longer so focused on stripped back techno - although the hissing noise and dark bass tones of Camea's "Black Sparrow" provide some connection to Bpitch's back catalogue - Best Of focuses on the area where pop and electronic music meet. The tumbling drums and plaintive vocals on Eating Snow's "Siamese Twins By Choice" could be early period Sting (that's a compliment by the way), while Dillon's "This Silence Kills" is a beautifully fragile serving of ethereal electronic pop. Bpitch can still rock the house when required, as the nasty acid of Snuff Crew's "Bass" demonstrates, but the real highlights of Best of 2013 are the label's leftfield excursions.
