Review: Esteban Adame adeptly covers the middle ground between panning techno and deeper textures on Quinto. "Mextli" is droning and dark, its arrangement focusing on a series of subsonic tones building to filtered climaxes and underpinned by doubled up, reverberating claps. It's spacey and ethereal yet visceral enough to appeal to a purist audience. Israel Toledo's version is more rolling and DJ-friendly, but here too the atmospheric sweeps and one-note bleeps show that more afoot than with the average club fodder. "Itzli" completes the package; like Toledo's remix it opts for a more straightforward approach, with a percussive backing populated by liquid tones and blips.
Review: Santiago Salazar's label drops a techno release full of surprises. "Aztlan Reclaimed" is classic Detroit techno, its ghostly synths traversing a jerky, bassy groove. At the other end of the spectrum is "El Dia", a busy jacking groove featuring insistent Spanish vocal samples - think of it as the Latino riposte to Floorplan's "Baby, Baby". The title track is in the mould of DJ 3000's releases on Motech, with loose, rolling tribal beats providing the backing for a techy chord builds. Salazar himself contributes a remix of "Trinity". Playing to the kind of epic, string-drenched sound that characterises early 00s Underground Resistance, the soaring bass leads into a series of bleepy breakdowns.
Review: Adame originally came to prominence as a keyboard player for Underground Resistance act Galaxy 2 Galaxy, but as Day Labor shows, he deserves his own attention. "Rise & Shine" is sensuous ambience, while "Out to Get It" sees him laying down a rolling techno groove to rival DJ 3000. It's one of many rewarding twists and turns by Adame, and he also delivers "Handed Down", a brilliant, skewed jazz-house jam and the dubby groove of "The Grind". However, Adame is a Detroit producer first and foremost and nothing screams the Motor City quite as loudly as the slinky metallic rhythms and sublime, shimmering melodies of "The Reason".
Review: Sometime UR collaborator Esteban Adame gets one of the tracks from last year's Day Labor album remixed. In its original form, "Rise & Shine" is a beautiful, string-soaked ambient piece of mood music, while the 'Beat' mix adds a rolling rhythm to these musical elements. Frequencia Decon ventures further down this path with a heavier, dense rhythm track, while Mark Flash's take is a glorious Detroit techno workout, the strings to the fore and the melodies unfolding over a jerky rhythm. Finally it's the turn of UR themselves and they don't disappoint, turning Adame's ambience into a stripped back, dark electro number.
Review: Adame is one of the new school of Detroit techno producers, and has enjoyed a long relationship with London's ePM. On the title track, his ability to merge the soulful sounds of the Motor City with modern techno structures is apparent; strings soar and soar to reach an epic crescendo as a rough, rolling rhythm plays out. Newcomer Tresillo's version lacks the original's musical elements, instead putting a focus on a tough, acid-fuelled arrangement. In a neat twist, ePM has commissioned first-wave Detroit pioneer Juan Atkins to rework "Descendants". Despite techno becoming a global sound, Atkins' approach is still highly distinctive and the wiry, snaking reshape he delivers would be impossible for any other producer to emulate.
Review: Former Galaxy 2 Galaxy member Esteban Adame has released on some of modern techno's finest imprints - including Epm and Motech - but he now opts for a more house-based approach for this release on Steffi's label. The title track combines snappy drums, rolling snares and jazzy keys with a snaking bass, making for a classic deep house track. On "Throwing Signs", Adame fuses techy stabs with dreamy synth sequences, while on "Where's The Map Point", the US producer uses disco filters and a rolling groove as a back drop for sweet, symphonic strings. It's only on the Los Hermanos take on the title track that he and his colleagues return to the tough but soulful sound of Detroit techno.
Review: Having started his career by playing keys in Underground Resistance offshoot Galazy 2 Galaxy, it would be fair to say that Esteban Adame has impeccable techno credentials. These days, though, his output tends more towards deep house, as this fine EP for Mister Saturday Night proves. Check, for example, the jazzy bassline, skipping U.S garage style beats and bubbly electronics that sprint from the speakers throughout opener "Momma Knows", or the crunchy, distorted drums, breezy Latin piano motifs and undulating vibraphone solos that mark out title track "Mayan Basement". As for closer "Open House Memories", it sounds like a half-remembered memory of an organ-driven deep techno party from the late 1990s (which, to be fair, is a very good thing in our world).
Review: The boss is back! The legendary UK pioneer and Bedrock head honcho gives us a live set from Canada's second city, complete with crowd noise. Digweed's knack for sniffing out the most cutting edge progressive and tech house grooves is second to none and you can bet that this set is chock block full of narrative, innovative grooves: one journey you'll never forget! Featuring contributions from Germany's Recondite ("Tame"/"Baro"), Glasgow's Sei A ("You Can Bring"), Berlin's Smash TV ("Cascadia"/"God Key") and Los Angeles' Eagles & Butterflies amongst a host of other big names. Also comes as six continuous mixes for your listening pleasure. Enjoy!
Oliver Way - "Lucky Dip" (Scan X remix) - (6:14) 130 BPM
Esteban Adame - "Out To Get It" (Anthony Parasole & Phil Moffa Reconstruction) - (7:09) 129 BPM
Oliver Way - "Lucky Dip" (Ben Long & Oliver Way Late Night Mix) - (6:24) 130 BPM
Review: London label ePM brings together a who's who of global techno for this remix compilation. Weighing in at the harder end of the spectrum are Truncate, South London Ordnance and Scan X, who deliver blistering re-shapes of Mark Broom, House of Black Lanterns and label boss Oliver way respectively. However, the more interesting versions occur when the chosen remixers opt for less obvious approaches. Claro Intelecto delivers a lush, deep house take on The Third Man; Juan Atkins rewires Esteban Adame's "Descendants" with hyper active electronic funk, while best of all, the brilliant Chris McCormack drops a spellbindingly melodic take on Ben Long's "Open Doors".
Oliver Way - "Music Is So Special" - (5:33) 128 BPM
Mark Broom - "77" - (5:00) 128 BPM
Paul Mac - "Disc Electronique" - (6:45) 124 BPM
Luis Martinez & Keytone - "Lost At Sea" - (6:31) 124 BPM
Cristian Vogel - "Tyrkisk Peber" - (7:37) 130 BPM
The Third Man - "Pipes At Helios Canyon" - (6:16) 127 BPM
Ben Long - "Simple Soul" - (7:17) 127 BPM
House Of Black Lanterns - "Drown" - (6:33) 125 BPM
Kristian Heikkila - "Konstruktion" - (6:06) 128 BPM
Esteban Adame - "Handed Down" - (5:15) 125 BPM
Review: EPM Music is a label headquartered in Maastricht, the Netherlands that has recently presented terrific work by the likes of Mark Flash, Floorplan and Mark Broom - so it's evident that purist techno sounds are on offer by this fine label. For the seventh edition of their long running EPM Selected series they certainly have a special and well curated compilation on offer that touches on the many shades of the genre- but altogether emotive, soulful and with an undeniable Motor City edge throughout. Highlights not limited to: Detroit veteran Oliver Way's fierce and functional heads-down groove "Music Is So Special", the evocative hypnotism of British legend Paul Mac's fine contribution "Disc Electronique" through to Space DJZ' Ben Long (who's back in fine form) on the adrenalised and cyclical banger "Simple Soul" and the ever impressive Los Angeleno Estaban Adame's hi-tech soul excursion "Handed Down".