Review: This an altogether epic offering from Deetron; a vast collection of un-mixed tracks from his brilliant DJ Kicks mix (naturally included as a bonus cut) that is little less than a lesson in the evolution of techno over the last three decades. Amongst the 38 tracks you'll find fine representatives of a myriad of sub-genres (intelligent techno, dub techno, IDM, ambient techno, gospel techno, and so on), as well as past, present and future classics (Damier and Trent's "Morning Factory", Spacetime Continuum's "Swing Factory", Mark Ernestus's recent Equinoxx remix, the Motor City bliss of Rhythim is Rhythim AKA Derrick May's "Ka-o-tic Harmony", a brilliant old Black Dog Productions workout). In other words, it's a breathlessly brilliant collection of both well-known and obscure gems. It comes heartily recommended.
Review: Matt Edwards is one of the modern masters of the hypnotic groove, but this remix package sees some of his peers provide fine interpretations of Clone Wars. First up is German dub techno producer Markus Suckut, who turns the track into a stripped back, metallic rhythm with insistent bleeps and blips underpinning a pitched down vocal. Chicago don Parris Mitchell turns the original into a churning, chord-heavy affair that seeps through the speakers like an oil slick, while DJ Spider takes a radically different approach. Stripping the track right back, his fusion of eerie back-beats and system-leveling bass belches is disturbingly hypnotic.
Review: Spencer Parker's Work Them Records returns to the Werk single from Radio Slave the label issued last year, inviting a stellar cast of contemporaries to rewerk the title track. First up is an 11 minute version from White Material co-founder DJ Richard, who once again demonstrates his talent for bringing new levels of depths and emotion to the humble DJ tool, teasing out a certain cosmic flight from Radio Slave's original with the results quite trippy indeed. Dan Beaumont comes through with a thick set wall shaker with some finely programmed kick drums whilst local Berlin talent Sven von Thulen also shines with a bleed laden lo fi burner take.
Review: Matt Edwards once said that he works best when using just a few elements, and he applies that thought process to Vision with devastating effects. The title track revolves around a tight, fat drum loop, chilling synths and filtered, nagging percussion. Completing Edwards' 'less is more' sound is a pitch-bent vocal that pops in and out of the arrangement with a druggy awkwardness. It sounds like remixer Marcel Dettmann is in favour of a similar technique. The MDR boss leaves space for the vocal and eerie synth line, but sets it against a groove so murky that it's hard not to get lost in its swampy depths.
Review: Matt Edwards is king of the tracky groove, and his latest release does a lot to reinforce this reputation. "The Black Lodge" is a tight, drummy groove, its tight, compressed beats providing the backdrop for Edwards to deliver a series of filtered riffs, whooshes and menacing chords. Clocking in at over 12 minutes, it's testament to his talents that the groove never sounds boring or samey. "Mood" is more upfront; on this occasion, the drums roll in like thunder clouds, followed by evocative synths and a dark, eerie organ riff that is utterly menacing.
Review: Rekids signal a change in focus after the raft of Nina Kraviz related remix releases and instead turn to a classic from the archives of label boss Matt 'Radioslave' Edwards for a pair of fresh remixes. It would be hard to find two more diverse remixers than Mr G and Prins Thomas, but both turn in superb reworks of the 2008 Radioslave bumper "Tantakatan". Mr G calls shotgun and his self-styled Nighttime Dub is a wonderfully dirty analogue groover that takes Edwards' original production into notably darker territory with those deep dubby chord stabs overshadowed by rumbling bass. Naturally Prins Thomas takes a different approach, implementing an acoustic guitar to replay the stabs and using live drums for a loose, laid back groove. There's a notable dose of reverb and delay used throughout that lend this Diskomiks a real druggy feel.
Review: Gerd Janson's label pulls together a heavyweight cast to rework "Children...", originally released on Running Back in 2015. While the original track drew on break beats and hardcore for inspiration, Kink's 'SP1200' version follows this approach to its logical, unwavering conclusion. Massive rave stabs gyrate their way over rolling hardcore breaks, navigating a path that is equal parts menace and euphoria. Janson's own edit of the Kink and Rachel remix is more understated and bubbly, with warbling electronic hooks bubbling up amid the lithe breaks. Finally, Justin Van Der Volgen turns in a deep, hazy house interpretation, with the US producer mapping out a sound populated by clicky percussion and hazy textures.
Review: Matt Edwards marked the 100th release in Rekids earlier this year with a release that featured "Feel the Same", and now he is putting out the debut Radio Slave album using the same title. It's a real mixed bag; "2nd Home" starts with gentle ambience and the dreamy breaks of "Forana", before the UK producer changes pace and drops the album version of the title track in all its vocal-heavy, driving glory. If its insistent riffs get too much, then there is the low-slung bass-heavy groove of "Trans" and the dubbed out abstractions of "Draw" to keep his audience guessing. Rekids may now be a house music institution, but as "Feel the Same" shows, it doesn't slide into predictability.
Review: Rekids features here two extraordinary re-edits of recent Radio Slave tracks by Pampa boss DJ Koze. Taken from his Feel The Same album, Matt Edwards has certainly received a brilliant rendition from the Hamburg legend right here.The euphoric remix of the title track still features the looped-up diva vocals of the original and is exactly the kind of track you'd expect him to drop on a Sunday night one of his his regular appearances at Panorama Bar. Then, the hard hitting and tunneling "Reverse" is more on the techno tip and originally appeared on 2017's Overdue EP. Both edits are secret weapons for any serious DJ's set.
Review: In its original form, "Trans" was one of the dancefloor highlights of Matt Edwards' second album as Radio Slave, 2017's Feel The Same. Here, the dark and stylish original - think alien new wave synth-pop from 1983 re-imagined as a Panoramabar-friendly workout - is given a makeover by two titans of the electronic music scene: Innervisions overlord Dixon and Detroit techno stalwarts Underground Resistance. Naturally, Dixon's rub is weightier and more obviously big room-friendly than Edwards album cut, with the foreboding original synth bassline and bubbly electronic flourishes being joined by weightier drum hits and bold new melodic motifs which fire "Trans" towards the stratosphere. In contrast, Underground Resistance's revision is fuzzier, wonkier and more hypnotic, albeit with a little disco surprise here and there.
Review: Spencer Parker's Work Them label continues to grow as an outpost for club ready tools, with their latest release a remix shaped celebration of last year's Radioslave platter Report Myself. In original form the release was a perfect display of Matt Edwards capacity to distil house music down to it's bare essentials, so it's little surprise the label have chosen two remixers who build the track back up and take it in their own inimitable direction. First up is Berghain's latest pin up resident Rodhad who unsurprisingly moulds the track into a slab of hypnotic 9am techno with some truly crafty manipulation of the vocal, and it's complemented well by Bearweasel who opts to indulge his 303.
Review: Radio Slave is releasing his second album in three phases - and this first volume of Radio Silence sure to impress techno fans of all persuasion. This is largely due to the fact that the Rekids boss has drawn inspiration from a myriad of sources; these include Jeff Mills at his most esoteric for the swirling sound scales of "Ghost" and the break beat driven "Cell", while on "Contact", he opts for a visceral, grubby techno banger. On "Zqu", we get to hear Radio Slave at his most intense, with a pounding steely rhythm prevailing, while he quickly shifts into compelling abstract mode for the eerie tones of "Command Z Av".
Don't Stop No Sleep (Tale Of Us remix) - (7:30) 128 BPM
Don't Stop No Sleep (Roman Poncet & DJ Deep remix) - (6:51) 130 BPM
Review: Radio Slave's 2014 release gets the remix treatment from some of the biggest names in house and techno. First up is Robert Hood's version, where the Detroit veteran takes the original track's vocal loop and sets it against firing percussion and a barrelling techno rhythm. It builds up to a heady climax courtesy of some churning chords. Meanwhile, the Tale of Us interpretation focuses on letting the vocal unravel over a juddering kick, wiry percussion and dramatic chords - while the formidable pairing of Roman Poncet and DJ Deep head down a similar route, albeit one inhabited by garbled synth hooks and crisp claps.
Don't Stop No Sleep (Nightmare mix) - (2:30) 128 BPM
Review: Originally issued on Boddika's label back in 2014, "Don't Stop..." has remained fresh despite the passage of five years. This is largely down to its straightforward but effective arrangement and Radio Slave's subtle, powerful production. Drawing on a looped, hypnotic vocal sample, ticking percussion and understated kicks, it's a timeless piece of stripped back techno. "War Dub (Version 2)" also taken from the Nonplus record, follows a similar path, embarking down a path paved with subtle bleeps, steely percussion and intricate drums, while the Nightmare Mix of "Sleep" sees Matt Edwards embark on an even more reduced approach, guided by eerie tones.