Review: Those who had Gary Beck down as a big room-minimal artist will probably get a shock when they hear Rascal. The title track is a slamming rhythmic affair, pounding and streamlined but also welling up to take in a series of churning chord sequences. It's a reminder that Beck is a diverse artist, something that becomes more apparent on "Video Siren"; there, a driving rhythm and stomping beats underpin a pitched down vocal loop that intones the track title, getting more and more hypnotic as it progresses. It's a million miles away from the fx-laden white noise bombast of big room mnml.
Review: The Scottish producer is at the helm for the latest release on his own label and it's no surprise that it's a dance-floor primed affair. Learning the charge is the title track, larger than life pulsing techno groove somewhere between the sexual swing of Giorgio Moroder and the distorted stomp of early Luke Slater. "Wren" is perhaps more typical of the Beck sound, with its dark, bubbling pulses underscoring dramatic synth builds. "Leo" follows in a similar vein only on that occasion, the drums are harder and heavier, as Beck fuses them with a snaking groove. Finally, there's "Karman"; led by robust kicks and featuring a series of deep break downs, it brings to a close an EP that started in truly dramatic fashion.
Review: About six years ago a young lad from Glasgow named Gary Beck burst to the scene, seemingly out of nowhere with his brand of atmospheric yet powerful style of techno. His star has continued to rise and it's his own Bek Audio label that these days sees him continue on with his steady rate of quality releases. The Scarlett EP features the pulsating and slow burning epic that is the title track, the pounding and doom laden groove of "Gaada Stack" which you could imagine tearing through the speakers at somewhere like Berghain. Finally things get a bit funkier in the rhythm's groove on "Hot Packing Slip" backed by droning and atmospheric pads.
Review: Gary Beck continues the fine Glasgow techno tradition pioneered by Rubadub and Slam on "Backward", the opening track on this split release. Tribal drums cascade over a rolling rhythm and in the middle of it all, a vocal sample morphs into a hypnotic Afro chant. "Data Flux", Beck's collaboration with techno veteran Mark Broom, is just as rewarding, only on this occasion, the kicks are tougher and more distorted. Bek 022 also gives a platform to new artists - with Hans Bouffmyhre & Kyle Geiger's "Inwards" delivering a flurry of tough kicks and ear-shredding sirens - and to seasoned artists the Space DJz, whose raucous "Double Zero" brings a distorted drum-led end to the release.
Review: It's hard to believe that Gary Beck's techno has been around for a decade, and helping him to blow out the candles is a star-studded line up. First up is Chicago legend DJ Rush collaborating with the label owner to deliver the stomping ghetto techno of "Talkers". Sunčica Bari?ić aka Insolate delivers a more European-focused sound on the atmospheric, tone-laden "He Said, She Said". Changing focus again, Slam's version of JX-216's "Xingu" is a visceral peak-time affair that resounds to discordant riffs, while on Mark Broom's "Red Line", an insistent organ and firing percussion, similar to Floorplan's style, is audible. Hopefully it's the first of many birthday celebrations.
Review: Taken from Gary Beck's recent album, the "Algoreal" traces his progression as an artist. On the title track, the white noise led builds of yore are gone, replaced by eerie, Sandwell-esque pulses, hissing percussion and a throbbing, pulsing groove. The end result is ethereal and haunting but also hugely impactful. It's in stark contrast to "Naptha". There are some traces of Beck's minimal past, audible in the shredded, splintered percussion, but the most exciting element is the menacing, acid-soaked bassline that rears and surges like a Hydra with a bad dose of the flu. Angry techno rarely sounded so articulate.
Review: If you were expecting some light-hearted music to provide a soundtrack to the day of rest, then you may be somewhat disappointed by Barefoot Sunday. If, on the other hand, you crave big room techno with a rare modicum of finesse and rawness in equal measures, then this title track is highly recommended. Beck delivers a driving, jacking tune, replete with playful, primal ghetto house influences. The Scottish producer has also secured a major coup by getting Robert Hood on board as a remixer under his Floorplan alias. Deranged horns and the original version's teasing vocal are fused over pile-driving claps to create an unforgettable Sabbath celebration.
Review: Gary Beck kick starts the Bek Audio account for 2018 with this barnstorming release. The title track is a raucous affair that sees an off beat rhythm track provide the backdrop for a pulsating bass, looped vocal samples and ferocious percussive volleys. When the snare rolls kick in after the break down, it's not hard to imagine the kind of carnage that "Pneuma" will cause. On "NTX", the Scottish producer plays a straighter hand. The groove is linear and steely, with some vocal snatches, but still as effective as "Pneuma". "Synthen" sees Bek deliver a tough tribal workout, featuring by filtered crescendo, while Beck provides a more house-based approach on the rolling "Back Jabba".
Review: When it comes to no-nonsense, heads-down techno, few labels can match Bek Audio. While it has released material by Chicago legends DJ Rush and Lester Fitzpatrick, as well as Mark Broom and Slam, for its 30th release its owner, Gary Beck is back in the saddle. The title track is an unstoppable juggernaut that comprises a driving funk-bass, disco loops and sassy vocal samples. "Shadow Bounce" is more typical Beck, with a hammering central rhythm undercutting a noisy riff and a choppy vocal stab. "Bicycle Wheel" sees the Scottish producer deliver a lighter, party techno looper, while expect the catchy vocals and loopy funk of "Fantasy Stomp" to compete with "Famoo Funk" for attention.
Review: Gary Beck's first album in six years starts in dramatic fashion with the militaristic drums and the eerie synths of "Fools Regime" and the quality levels don't drop for the remainder of the release. Although best known for no nonsense, big room techno, this album contains many surprises: "Isle" is a shimmering deep house track featuring plucked strings, on "Return A590", he experiments with detuned synths and an electro bass to create a mutant disco track and "Absolute Gem" is a gorgeous, lush ambient piece. This being Beck there is no shortage of tough techno, including the pounding drums of the title track, but it's his unexpected forays and experiments that impress the most.
Review: Gary Beck goes down a somewhat different direction than usual with his latest release on Bek Audio. The title track features distorted kicks and a pulsating rhythm providing the basis for a tripped out female vocal. It sounds similar to the type of music that I Hate Models is putting out. On "Potion Fear", the label owner delivers a more abrasive track: based on a driving, steely rhythm, its booming kicks and harsh percussion see Beck inhabiting the same space as Perc. Changing tact once again, "Arahask" is a dubbed out club track that will appeal to fans of Klockworks and Figure.
Review: Few contemporary techno producers do crafty, functional tracks as well as Gary Beck - and this quality is audible from the outset on Cycle Series. It opens with the slinky, streamlined "Crocodile Fears", which is littered with looped samples and powerful claps, while the title track sees Beck use a visceral, meaty bass to underpin a rolling electronic rhythm. Once again, the use of effective steely percussion shines through. Beck deploys a similar approach on "My Fake Candles", although on this occasion a dense low end underpins spooky synths. On "Arden Rocket", Beck goes back to basics for a drum-heavy percussive workout that has echoes of 90s Marco Carola.
Review: The Bek Audio anniversary celebrations continue apace with this fine second volume. First up is PTTRN with the percussive, drum-heavy "180621 S61.1", which is every bit as purist as its title suggests. Label owner Gary Beck takes the tempo up a notch with the rolling groove and snappy percussion of "Disgraced Loon" - but smart vocal snatches and chord stabs ensure that it doesn't veer into banging sameness. Petter B's "Second Day" approaches intensity from a different angle, thanks to the use of shimmering woozy chords, while on "Patterns", a collaboration between Beck and Alan Fitzpatrick, melodies also make an appearance - although on this occasion they flit in and out of the duo's steely drums and crisp percussion.