Review: Much trusted cousins of the UK acid house scene, Posthuman make their way back to Balkan following an epic Neville Watson sample back, and the duo's own collaboration with Lauren Flax, Endless Summer. As the ideas of warm beaches - in the northern hemisphere at least, begins to dwindle - Posthuman deliver the epic 303, sequenced rave climber "RMX (Lush VIP)" alongside and drummed-up version in "RMX (VIP)". And for that straight up jungle and electro-inspired rave tip - look no further than "MCRD (VIP)". Bleep, rave, IDM, jungle and acid to full effect.
Review: Industrial east London electro duo Posthuman make their debut on Cyberdome, a new label to explode this year with records by Slacker, Kai Van Dongen and D3070. Pushing at the harder edge realms of acid techno, electro rhythms and subtle rave is "Terror Police", with gnarly basslines and snapping snares dominating the hardcore synths of "Titan Descent". With raw drums coming through at large in "Pleasure Machine", DMX Krew takes on "Terror Police" once more with a deeper mix that sounds as if it's surfaced from the cold lands of Den Hague's legendary rave scene.
Review: Ever wanted to know what a Luke Vibert bassline can really sound like? Look no further than the first few bars of "Batter Bits". It's one half of the tracks Vibert has given this EP split with London-based duo Posthuman of Balkan Vinyl. This second Unitary Covert Sonic Procedures release sees Vibert send in a futuristic slice of hip-house primed by that Kill Bill siren too, next to Posthuman's old school and rave worthy "2 Jack 4 U". Get that extra hardcore touch and Laurie Anderson feel through the gnarly and infected acid of "Hidden Blade. Seriously covert. Undeniably sonic.
Review: Acid house evangelists Posthuman rarely put a foot wrong, so it's no surprise to find that their latest EP is full to bursting with high quality. Interestingly, there's no sign of their trademark TB-303 acid lines on lead cut 'You're Mine'; instead, they've opted to pepper a sturdy drum pattern with retro-futurist organ stabs, glassy-eyed vocal samples and, as the track progresses, gargantuan sub-bass and sweaty breakbeats. The accompanying remix is package is strong too, with Luke Vibert predictably stealing the show with a tooled-up, rave-igniting take smothered in a variety of familiar old school vocal samples. We'd also suggest checking dense and chunky bonus cut '(Find Me) On The Edge of Town', a sweaty slab of future acid jack with oodles of energy.
Review: When it comes to robust, far-sighted and futuristic machine music, Posthuman can usually be relied upon to deliver the goods. Here they make a now rare outing away from their I Love Acid label, offering up a must-check four-track on Lobster Theremin's nostalgia-tinted There Is Love In You offshoot. The long-serving UK duo hits the ground running with sweaty opener "Chevrolet", a weighty, bass-heavy, warehouse-ready affair featuring the distinctive vocals of Josh Caffe, before switching to mind-altering acid techno heaviness on "The Depth". Elsewhere, "Jupiter Traxx" sees them eagerly join the dots between electro, breaks and hip-house, while "My House Rules" is vintage deep house taken to the outer realms of the galaxy.
Review: It's been quite a year for Posthuman: apart from releasing a series of EPs on labels like Shipwrec and Balkan Vinyl, they also put out an excellent long player, Mutant City Acid. Rounding off their year is The Snake Bites Twice, their debut on Scottish imprint Craigie Knowes. While "Cobra Structure" and "Polywater Acid" deliver more of the same low-slung acid that they are synonymous with, the EP also throws up some surprises. The primal jacking "Down 2 Jakk" features psychedelic rave riffs, while on the aptly named "Steal the Show", they take inspiration from bleep techno and hardcore - check those piano stabs - to deliver a wonderfully moody, evocative cut.
Review: I Love Acid overlords Posthuman divert from their usual jacking course to lay down a pair of surprisingly sleazy and far-sighted jams for Holland's consistent Shipwrec imprint. Naturally, their ever-present TB-303 lines make their presence felt on gnarly "Netflix and Kill", but this time they're stretching out above a bouncy, tribal-tinged backing track rich in wide-eyed rave stabs and hip-house style sampled whoops. If you're in the mood for something a little looser and more laidback, we'd recommend the spacey synths, undulating acid bass and picturesque deep house flourishes of title track "The Damocles Syndicate", which thrillingly just gets heavier as it progresses.
Review: Posthuman aka Rich Bevan and Josh Doherty debut on Dixon Avenue Basement Jams with a vocal-led release. The UK pair have recruited Josh Caffe to work with them, and his soulful tones work well with these hardware jams. On "Preach", his exhortations unravel over raw drums, a predatory bass and lurid acid lines, while "Temptation" is even darker. The 303 sound is more intense, the hi hats crash in mercilessly and Caffe's vocals morph into moans and howls. It all adds up to a hugely enjoyable but dark ride into Chicago jak. The only arrangement devoid of Caffe's contribution is "Exit Drums", but its fat bass and grimy snares more than compensate.
Review: Tronik Youth's London based tech house and nu-disco force Nein is back with a weighty 17-trackcompilation celebrating his current label roster and a love for more retro-inspired sounds. From the grinding electro-punk of Justine's "Infernale Cavale", to Freudenthal's dark synthpop epic "Bilderblast", there's plenty of stylistic range here. Highlights come thick and fast on Yes Means Nein, with the gutsy EBM groove of Tunnel Signs "Hellfire" and a remix of Emperor Machine's "Sisco Seeker" from label mainstay Rodion and Fabrizio Mammarella particularly standing out!
Review: With so many people trying their hand at Chicago jack, it was only a matter of time before Posthuman aka Scottish duo Rich Bevan and Josh Doherty delivered their interpretation. Of course, given their uncompromising back catalogue, it is no surprise that "The Benz" is an intense affair, its dense, juttering rhythm made almost claustrophobic by a repetitive sample and insane sheets of acid rain. Ben Sims gives the track a more clubby focus on his version, dropping daggers of razor sharp percussion over clanging drums, while the Radioactive Man version is all shifting 808s, splurging bass pops and what could easily be the sound of an industrial toilet flushing in the background.
Review: Focusing resolutely on underground sounds, don't expect this compilation to deliver flavour of the month tunnel techno or tasteful drones. Instead, Substance have recruited Neil Landstrumm and Stick 430 to drop mental rave basslines over yelping analogue techno and drill'n'bass, and have persuaded Automatic Tasty to forgo his usual Drexciya-focused electro-bass for the warbling acid and Minnie Mouse on helium hardcore vocals of "Free All Parties Now!" If there is a common theme here, it is a love of rave and raving, and both Subhead and Smees bring this aesthetic to their wonky techno contributions. Ten Tracks is the ideal release for the outdoor party person.