Review: When it came to celebrating their first five years, Uncanny Valley decided to do things differently. So, alongside a retrospective (Five Years On Parole - What Happened), they've delivered an EP of previously unheard material from the archives (Five Years On Parole - Gems From The Vaults), and this selection of brand new cuts. There's naturally much to enjoy, with Chinaski and Panthera Krause both delivering wonderfully deep and dreamy analogue house workouts. There's something particularly impressive about Derive's krautrock, Kraftwerk and proto-techno inspired contribution - think modular synthesizers and pulsing drum machine rhythms - while Iron Curtis' "En Suite" is a clandestine acid jacker build around ragged 303 lines, metronomic percussion and trippy synthesizer motifs.
Review: It's some two years since Panthera Krause impressed with fine releases on Riotvan and Lobster Theremin. This time round, he's been tempted out of the wilderness by Dresden house misfits Uncanny Valley. In order to fit in with the label's anything-goes approach, the Leipzig-based producer has delivered a quartet of tracks that eccentrically blend a whirlwind of contrasting influences. There's the wonky, ultra-deep jazz-house drowsiness of "The Space Between Us", the punk-funk/dub disco/African thrills of "Howling For July", and the sweaty tech-jazz goes breakbeat madness of the superb "Z-Cuts". As for opener "Umami", it's a loose, rolling and deliciously positive slab of sublime deep house weirdness that benefits greatly for some heavy low-end pressure.
Review: As befits a producer who has previously delivered fine EPs for both Lobster Theremin and Uncanny Valley, the music of Robert Panthera Krause is always brimming with good ideas. Happily, he's let his imagination run wild on the Stonith EP, his first release on Leipzig-based Riotvan for nearly three years. "Twerk It" is a leisurely, loved-up stroll through mildly Balearic broken house pastures, where chiming melodies, heavy sub-bass and dreamy chords add extra interest on route. The impressive "Take Me" sees him mould beatbox electro in fuzzy new deep house shapes, while "Stonith" is a cowbell-laden romp through skewed house and eccentric electro territory. In other words, it's business as usual.
Review: Leipzig based producer Robert Panthera Krause follows up some great releases in 2017 on labels such as Riotvan, Step and Lobster Theremin with his second outing on local imprint Uncanny Valley - which follows up his well received Umami EP in 2016. All My Circuits Part I features four sunny, dusty and irresistable excursions into the deep. Starting out with the sun-kissed and uplifting jam "Heppy" featuring some flamenco- ish guitars, dusty broken rhythms and lush hypnotic pads - this one ticks all the right boxes. Next up "Stomping Ground" goes for a more straight-up lo-fi deep house vibe, where vintage drum computers go face to face with a chunky acidic bassline and jacking vocals on this right party starter. Elsewhere, "Le Phoque" saves the best for last on this pumping deep house number featuring a hypnotic marimba melody and a stomping swing fuelled beat.
Review: After recently notching up three years in the business, HFN Music offshoot Hafendisko is in a suitably celebratory mood. So much so, in fact, that they've put together this first compilation, featuring a mix of previously released cuts (see Ewan Pearson's epic, Italo-influenced electro-disco remix of Kaspar Bjorke's "Apart") and brand new jams. Highlights are pleasingly plentiful, and include the moody, low-slung deep house jazz of Simon Hinter's "Easyweezy", the picturesque beauty of Yannick Labbe's immaculate "Sugar Coated Insult", and the bouncy, beatbox electro-with-a-twist brilliance of Jimmy Edgar's synth-laden rework of Tiger Fingers' "Little Drummer Girl".
Review: The Munich based deep house and nu disco institution returns for their fourth safari and it is quite the trip if we do say so ourselves. The landscapes.. the wildlife.. be prepared for an epic journey! Highlights on here include the gutsy analogue punk of Drvg Cvulture's "Night Time Is The Right Time", prog house don Henry Saiz teaming up with sometime John Talabot cohort Pional on the dreamy "Uruboros" and Sweden's always reliable Axel Boman with the dreamily hypnotic "Die Die Die!" which despite its title is summery and lush: a potential anthem of Summer 2017. Hidden treasures, lost classics and exclusive tracks through the deepest house valleys and the highest disco mountains of the label's catalog.
Review: Uncanny Valley ends the year with a 13-track retrospective that sums up why it is such an idiosyncratic label. 13 Tracks moves in style from the bizarre acid beats of "Macho Man" by Mr Incognito and Amrint Keen's vaguely epic electro track "Believe" into more dance floor friendly tracks. These include the moody, atmospheric techno of Qnete's "Alone Together" and Chino's acid-heavy "Kolaps". In between these ends of the spectrum there are once-heard, never forgotten moments such as the vocal electro of Credit 00's amazing "Hammer Jack Voices Wall" and Serial Error's tribal house meets new beat track "Drum Abuse (Vocal)" - which both underline again what an idiosyncratic label that Uncanny Valley is.