Review: After a succession of acclaimed releases for Soma, Norbak drops this coruscating release for Bas Mooy's label. "There Are Only Victims Left" is a dense, industrial broken beat workout, populated by a looped vocal and a series of effective filtered drops.The title track is straighter and sees Norbak drop a rolling tribal techno track that recalls Mills at his most visceral. "His Faith Will Be Our Defeat" is in a similar vein and the fast-rising techno producer focuses on bruising kicks and an industrial rhythm. He maintains this style for "Anomalisa", but adds swirling dub chords to the pounding bass drums.
Review: Norbak aka Artur Moreira follows two killer Eps on Soma last year with another fine release for the label. The tile track is especially distinctive, with Moreira combining a rolling tribal groove with multi-layered textures that flow and ebb over the dense drums. "Mirante" is more overt, as Norbak drops a pounding, industrial groove that's populated by niggling percussive elements. "Direction Towards Chaos" sees him opt for a similar approach, with a lean, stepping rhythm that takes influence from the Regis school of angular techno. Soma has also tapped two of Europe's best producers for remixes: Oscar Mulero lends "Mirante" some added weight thanks to the use of insistent filters, while Lewis Fautzi strips back the title track, turning it into a dark, peak-time banger.
Review: Label boss Pfirter hooks up with Artur Moreira aka N?rbak for this relentless release. "Life Happens Twice" is based on a frazzled, throbbing rhythm, but the pair also make space for ethereal vocals amid the firing percussion. There's a similar approach on "Truth of Existence", with Pfirter and N?rbak putting a focus on rough but direct grooves, and they up the intensity levels for "Questionable Concept of Freedom". While inspired by dub techno sound design, the militaristic, steely rhythm and relentless arranging mean it is especially impactful. Closing out the release is "Conquer Fear", where the MindTrip owner and N?rbak again harness the power of the cavernous aesthetic to drop a turbo-charged, linear banger.
Review: Norbak aka Artur Moreira has already released on sister label Warm Up, and he makes his debut on MindTrip with a fittingly dark and alluring EP. It opens with the skeletal, stepping "Frente", which is engulfed in eerie textures, before picking up the pace for the snaking, club-friendly groove of "Occino". On "Parasite", he further ups the ante with a tough, driving techno groove that's underpinned by razor-sharp percussion and deliciously hypnotic drones. Rounding off this darkly hypnotic affair is the title track, a peak time banger, with visceral kicks underpinning noisy electronic swirls and bursts of militaristic percussion.
Review: The fourth instalment in MindTrip's Mutable Minds series gets off to a hypnotic start as cold tones unravel over a sleek metallic rhythm on Translate & Pulso's "Moriarty". Kike Pravda's "Heat" is much more visceral, with wave upon wave of noisy electronics paired up with a barrelling, murky groove. Changing tact and shifting tempo again is Norbak's "Avadhuta"; while spacey filters lend the arrangement a cavernous feeling, there is no mistaking the power of its driving, steely drums and percussion. Vohkinne's "Active Radio" is in many ways, the most conventional track, but its rolling, loopy groove benefits from the type of tripped out hypnotic layers that have become MindTrip's stock in trade.
Review: Known for his work on the Illegal Alien label, Norbak now debuts on Dynamic Reflection with this dense, murky record. "Marah 1" starts proceedings with a dense, filtered arrangement that is underpinned by spaced out beats. It's intense but still has a somewhat esoteric undercurrent. On "Marah 2", Norbak picks up the pace for a more clubby, rolling workout that resounds to sweeping filters as well as pin prick bleeps that weave in and out of the arrangement. The Dutch label has commissioned remixes of both tracks. Farceb turns the first "Marah" into a hypnotic, tunnelling version, led by heavy kicks, while Moddullar's take on the second "Marah" is more lithe and atmospheric, working the original version's textures into a deep, break beat arrangement.