Review: Farr is known for his tough, uncompromising techno, but on his debut album, there is a change of direction. Maybe it's because he is coming of age or it could be linked to the final edition of the Bloc Festival, but whatever the reason, a melancholic, reflective sensibility prevails here. From the eerie ambience of "RPM (Dedication) Beatless" and "AM05" to the lithe break beats of recent single "Post Bloc" and the broken beats of "Coping Mechanism" there is a bluesy, subdued feeling on Purpose. Maybe it's the realisation that it is indeed the end of an era - and the beginning of a new one - but whatever the explanation, even the noisy techno of "Crunk" and the industrial strength "Minehead" can shake the sadness at the heart of Farr's debut.
Review: Farr is the fourth and final member of the Onnset label owners to release on the imprint - but judging on Position, it was certainly worth the wait. A large part of the UK producer's appeal is down to the fact that he doesn't sound like most of his peers; "Imposition" shows that this is the case with its droning guitars and stepping beats, while Farr's love of break beats is also audible on "Disposition", where more robotic breaks are fused with chilling synths. He also makes a compelling case for Reese bass-centred techno on the storming, siren-laded "Exposition" and the rolling, ominous "Opposition".
Review: Joefarr follows previous releases on Turbo and Power Vacuum with this uncompromising but innovative release. "On Your Life" is a stomping, noisy affair and the most conventional of all the tracks. "My Sixth" and "Rampart" follow in this vein, but the former has heavier, sledgehammer beats and grainy analogue riffs and the latter features churning filters and insistent sirens going off in the background. "What Time Is Now" brings this formula to its extreme conclusion, with its distorted, high-paced kick drums, grungy, distorted riffs and menacing vocal shrieks. However, it's the title track that really pushes the boundaries with its broken beats and wall of seething feedback.
Review: Arriving with some decidedly worrying cover art, rising Bristolian producer JoeFarr debuts on the equally fresh faced DSNT label with a very good slab of noisy techno. Lauded by everyone from DJ Skirt to Bleaching Agent, the DMF EP pairs two original JoeFarr productions with remixes from the brothers Russell, Truss and Tessela - need more persuading? Read on son. Lead cut "F/O" sets the tone, deftly building from stripped back beginnings into full on stomping, gnarled acid madness, whilst "Tape7" shows JoeFarr can practice a bit more production restraint. Those unfamiliar with the Bristolian will probably check this release out because of the Truss and Tessela remixes but the original productions stand up against those!
Jimmy Edgar - "Hush" (Kyle's Detroit Retro Metro remix) - (6:30) 124 BPM
Tom Demac - "Obstructing The Light" (feat Duncan Edward Jones - original mix) - (6:51) 110 BPM
Review: There's something quite insurmountable about the Hypercolour back catalogue, stretching as it does through vast swathes of quality house and techno material back to 2006. Thankfully the good folk at the label have consolidated some more of the finest gems off those releases and bundled them together for a one-hit fix of high quality gear that sits left of centre. Whether it's Space Dimension Controller remixing Luke Vibert or Rolando tackling A Sagittariun, the tones are rich and diverse on all fifteen tunes, without a single dip in the quality. Our pick would be the angular delights of JoeFarr's "Trapington" with its squashed soul in amongst rough and tumble drum science.
Review: One of Europe's biggest electronic music parties sets out an impressive taster for this year's event. Mixed by French DJ/producer Brodinski, it moves from the deranged, siren-led "Slope" by Joe, through the swinging techno of Randomer's "Bring" and the chord-heavy groove of Brendon Moeller's take on Appleblim & Peverelist's "Over Here" before moving into more raw forms. This is articulated by the rough analogue jack of Marquis Hawkes' "Outta This Hood" and the firing, lean techno of Robert Hood's "Protein Valve (Edit 1). Brodinski also deserves kudos for dropping the grainy, surging bass and crisp drums of Claro Intelecto's rumbling electro killer, "Tone"
Review: Since 2012 Power Vacuum has made a name for itself by releasing unrelenting rave and acid fuelled techno. After a strong second year of releases that included contributions from Mark Broom and EDMX, as well as several releases from label founder Milo Smee, the first Power Vacuum release of 2014 introduces five new artists on a split release. Although the highlight for many will be a rare track from Objekt, the angular shock and awe techno of "Balloons", the rest of the contributions are equally great. Turbo's latest recruits Joe Farr and J.Tijn team up for the steamroller that is "Mustard Sucker" while Ukrainian hard techno producer Positive Merge delivers the relentless gabber-esque stomp of "Note", but perhaps the most eye-catching inclusion is the new An-i project from Lee Douglas that recently debuted on Minimal Wave's sister label Cititrax, with the ex-TBD man delivering the scrambled frequencies of "Convo". In a word: essential.