Review: After an initial appearance on remix duties for the Honest Jon's label back in 2015, Leipzig beat specialist Kassem Mosse is back on the singular London imprint with a new EP, this time grounded in his more traditional techno roots - the side of his that we love the most and what won us over with his first, and now foundational, EP's for his native Workshop. "Chilazon 1" is a trippy techno work that bounces off the walls with utter ease, and it's the sort of bleep-heavy techno that we're loving at the moment; "Chilazon 2" is less structured and more textural, a decomposing mass of drums and static that blend together to make a solid and palpable groove. "Lanthanum" takes the same distorted approach but this time Mosse escalates the panic with a whirling echo of cascading chords and dubwise drums. A must.
Review: Disclosure is Kassem Mosse's follow up to this 2014 debut long player, Workshop 19. Apart from further cementing the relationship with Honest Jons, it also sees him further pushing his already skewed house sound to the outer limits. "Drift Model" and "Phonenica Wireless" both sound like he took a hammer to the offbeat style on his previous album, while "Stepping on Salt" is just a series of malfunctioning computer blips and bleeps. Mosse finally ventures onto the dance floor with the rickety, haunted minimalism of "Galaxy Series 7", but it's only a temporary divergence and his sense of adventure returns for the broken down rhythm and broken drums of "Collapsing Dual Core".
Review: Out To Lunch's 27's 12" in 21 years sees another beautiful and highly contrasting v/a double-up. First we have Gunnar Wendel under his Kassem Mosse guise laying down a blissful, twinkling church-like serenade while OTL's own Black Point continues the twinkling, emotional theme but from a twitching, densely layered jungle perspective. Two sides of a very beautiful coin.
Review: It seems surprising that this debut album from Kassem Mosse should appear with little fanfare, but that's apparently how the acclaimed German producer wanted it. Predictably, it's rather good. Rippling with fuzzy analogue warmth, crusty drum machine rhythms, toasty keys and alien electronics, it offers a selection of undulating deep house cuts in his inimitable style. At times - such as on the soulful shuffle of "Untitled A1" and jazzy "Untitled D1" - it sounds a little like vintage Moodymann; at others, Mosse's techno influence is much more apparent (see the wonky throb of "Untitled D1"). Throughout, Workshop 19 is formidably atmospheric.