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.
Review: Like her last album, The Kiss sees Ellen Allien explore an alternate route than the skewed, rough and ready minimalism she made her name with. Indeed, "The Kiss (Extended Version)" deploys an old school Chicago bassline with mysterious synths and a jacking rhythm. "Need" is less memorable, but Allien has the good sense to draft in Redshape for remix duties. The masked producer drops sweeping synths and a powerful, pulsing bass to lend the track some extra menace. Bpitch has also commissioned German duo Snuff Crew to rework "The Kiss" and they don't disappoint, using playful cowbells, mournful strings and a powerful, pulsing bass to create an unforgettable retro-style remix.
Review: This latest album by Bpitch Control boss Allien is a long way from the label's minimal, sometimes trancey roots. It sounds like the author has grown up musically, and LISm flows through a series of mood pieces. Although this special edition divides the whole 45 minute piece into discrete chunks, this writer listened to the work as one continuous track, and this is how it works best. Beginning with what could be the sound of demented monkeys wittering away, it moves into jangly guitars and blissed out vocals, before a series of isolationist bleeps kick in. From there it moves from late night jazzy sax, dense drones before kicking back into deep, ethereal electronics. It's a major artistic triumph for Allien.
Review: This latest album by Bpitch boss Allien is a long way from the label's minimal, sometimes trancey roots. It sounds like the author has grown up musically, and LISm flows through a series of mood pieces. This writer listened to the work as one continuous track, and this is how it works best. Beginning with what could be the sound of demented monkeys wittering away, it moves into jangly guitars and blissed out vocals, before a series of isolationist bleeps kick in. From there it moves from late night jazzy sax, dense drones before kicking back into deep, ethereal electronics. It's a major artistic triumph for Allien.
Review: The calibre of contributors to this remix album is a sign of the high regard that Bpitch boss Ellen Allien is held in. Aux 88 depart from their trademark electro sound for a tight, stabby techno take on "Ever", while Bodycode brings his eerie organ sound to the spacey "Dream", straddling this seemingly disparate mixture with snappy percussion. Meanwhile, Kassem Mosse delivers a beautiful, chiming bell and breathy vocal-laden take on "Our Utopie". There are also some fine left of centre versions, like Tim Hecker's organic ambient version of "Sun the Rain", John Roberts's gradually unravelling, tripped out melodic interpretation of "Should We Go Home", and the piece de resistance, the Ripperton take on "My Tree", which progresses from dense drums and foreboding trance riffs into soaring electro bass and epic indie guitars.
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.
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: 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".
