The Workers Are On Strike (Via App remix) - (5:29) 131 BPM
He's Been Teaching Me To Drive (Ron Morelli remix) - (5:52) 127 BPM
It's Not Worth The Bother (E. Myers remix) - (5:18) 136 BPM
Why Does Your Father Look So Nervous (M/R remix) - (7:42) 125 BPM
Review: Karen Gwyer's third album, Rembo was one of 2017's best long players. It saw the US artist consolidate her reputation as a purveyor of raw, hardware-driven electronic music and was one of the many highlights in Don't Be Afraid's stellar release schedule. Now Gwyer's material from the album gets reworked by an impressive group of artists. First up is Via App, who drops a grating, abstract take on "The Workers Are On Strike", while Ron Morelli takes time out from running L.I.E.S. to drops a skewed, stripped back techno version of 'He's Been Teaching Me to Drive'. It's hard to choose a highlight, but that honour belongs here to E.Myers, who uses sublime keys and a funk bass to turn 'It's Not Worth the Bother' into a gloriously soulful affair.
Review: Given her rising reputation in recent years, it's something of a surprise to find that Rembo is Karen Gwyer's first full-length excursion since 2013's Kiki The Wormhole on Opal Tapes. While that latter set was impressive, Rembi is arguably even better. For starters, Gwyer refuses to settle on one groove, following a glistening ambient opener with a fuzzy, IDM-influenced chunk of left-of-centre dancefloor techno, which in turn makes way for a beat-less slab of hazy synthesizer positivity. It's a pattern that continues throughout, as the talent American producer delivers bustling, redlined techno jams laden with dirt-encrusted synthesizer motifs, spacey IDM club tracks and picturesque electronic soundscapes that sidestep easy categorization.
Review: London-based electronic artist Karen Gwyer has kept on impressing us over the last four years. With releases for labels like No Pain In Pop, Kaleidoscope, and Nous, Semtek's Don't Be Afraid seems like a natural fit to her improvisational take on techno. "Prophase Metaphase Anaphase Telophase" is a stunner, a nine minutes' techno journey that's spans the whole length over nine minutes with its loose, aqueous groove barely held in place by raw, analog drum programming. "And Again Those Eyes" sees the artist return to more familiar territories thanks to a broken sway of beats and melodics, whereas "Meiosis Gametes" is a harsh, menacing techno swing with an electrifying buzz running through its groove. Solid, as per usual. This material comes hotly recommended. She's one to watch out for in 2016 and beyond.
Review: The latest release from the excellent Public Information sees them return to the works of early electronic pioneer F.C. Judd with a selection of remixes from some well chosen contemporary artists. Originally the subject of a retrospective release from Public Information early in 2012 entitled Electronics Without Tears, F.C. Judd was an under-appreciated figure of early electronic music who experimented with oscillators, filters and amplifiers, alongside his own self-built electro-mechanical drum machine and experimental synthesiser, primarily during the 1950s and 60s. Interpretations On F.C. Judd is the result of the label haven given all artists involved access to Judd's entire archive of sounds, tone experiments, field recordings and lectures, and left them to "produce an audio artefact befitting of Judd himself". RVNG artist Holly Herndon, techno veteran Perc, Bandshell, Karen Gwyer, Ekoplekz and Throbbing Gristle's Chris Carter all contribute to an engaging collection of works.
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