Review: Gesloten Cirkel's opening salvo on Moustache Techno is a hard act to follow, but Du Mosch does a good job here. Like the first release on the label, diversity is the key. The first untitled cut is a slamming, grainy techno rhythm, like a European update of early Mike Dunn or Steve Poindexter Chicago techno. The second cut is deeper and more groovy as an insistent bassline provides the basis for a rolling disco techno arrangement, while Du Mosch revisits his familiar Italo approach on the third and final track, the synths soaring to a melodic and wonderfully epic crescendo.
Review: With a debut LP from Joey Anderson and more Juju & Jordash material on the horizon, 2014 looks like being another interesting year for the Dekmantel label, and they kick off in style with a label debut for Mark Du Mosch. For those who don't know, Du Mosch is a regular contributor to a like-minded enclave of labels, racking up excellent 12"s for Lunar Disko, Tabernacle, Cyber Dance and Dutch labels Field, SD and Moustache Records. Having added some heritage to the fledgling Amsterdam operation Tape last year, Du Mosch adds a more established capital-based outlet to his discography with the Bay 25 EP. Contained within are two snapshots of Du Mosch's production palette with the rough and rugged Rotterdam squat techno of the title track complemented by the deeper burn of "Living It Up". An added bonus comes in the form of Du Mosch's Moustache Techno pal Gesloten Cirkel who also makes his Dekmantel bow with a typically haywire modification of "Bay 25".
Review: It's strange to think that this is Mark Du Mosch's debut release on Clone, given that he's from the Netherlands. On UM-ing, he shows why he is such a vital addition to the Rotterdam label's roster. "Heat It Up" is a chugging, chord-heavy groover, while on "Adrift", he goes for a similar approach - the only difference is that the organ-playing is replaced with tripped out tones and shiny synths. The title track ushers in a change of tone, with its moody bass and layered percussive volleys recalling the menacing swagger of early Force Inc, while closing track "Firefly" moves the mood dial back towards happiness with its surging, melodic chords.
Review: Given that money from all sales of this release go to the War Child charity (an institution that fine Scottish imprint Craigie Knowes has been supporting since its inception), it would be easy to recommend buying it regardless of the quality of the music contained within. Happily, it's a brilliant EP full of fabulous cuts that you really should own regardless of the release's philanthropic intentions. Check, for example, the fluid, off kilter, subtly disco-tinged brilliance of Mark Du Mosch's "Flyyying" [sic], the deep and spacey electro lusciousness of William The Squid's "Arab Sun" and the heavy analogue wonkiness of jack-track specialist Jared Wilson's "Pulsewidth". Arguably best of all, though, is the twisted acid house psychedelia of Eluize's breath-taking closer "L.L.L".
Review: If your finances couldn't quite stretch to buying all four releases in the unique Dekmantel x Patta series - in which limited edition vinyl EPs came packaged with exclusive items of clothing - this digital compilation is something of a lifesaver. For starters, the exclusive material - first included on the hard-to-get EPs, and now showcased here - is pretty darn tasty. The various Amsterdam-based producers involved generally hit the spot, from the melodious, analogue-rich Balearic techno of Young Marco's "The Best I Could Do (With What I Had)", and sparkling Detroit retro-futurism of Mark Du Mosch's "2nd 5ystem", to the cosmic deep house shimmer of Tom Trago's "Brutal Romance", and bizarre, off-kilter deep house-jazz of Makam's "The Struggles". Aardvark's quirky rumba-house workout, "Kubaa Rumbaa" is rather good, too.