Review: The Exhibit series aims to showcase emerging artists who operate at the raw end of the techno spectrum. While not a new act, label owners Slam get the ball rolling with their own "Exhibit 3", which revisits the raw, jacking sound of their Snapshots release. EJA's "Detachment Theory" represents a more contemporary take on underground techno. Led by a pumping, heads-down groove and relentless, doubled-up claps, it also features mysterious synth builds. Similarly atmospheric sounds inhabit Skjöld's "Stearic Acid" - but on this occasion, they are woven into a stripped back, percussive groove. Favouring a more abrasive direction, ANNĒ's "Keinlicht" revolves around a visceral rhythm and ominous synth lines, echoing vintage Steve Bicknell.
Review: Like its predecessor, the second volume of Exhibit shines a light on tough, hypnotic techno. Diego Oroquieta's "Friccion" captures the more atmospheric end of this dance floor-focused sound, as wave upon wave of tones build over a rolling groove. A similar approach is audible on Paula Koski's "Fever Coat". Led by doubled-up claps and a steely rhythm, Koski weaves in hypnotic bleeps - the end result is not radically dissimilar to vintage Function. The compilation also showcases a more percussive style. Audible on Michel Lauriola's drum-heavy "Intuition", it finds its fullest expression on the hard-edged loops of Klint's peak-time banger, "The Encounter".
Review: The second RSPX compilation picks up where the first volume left off, with a focus on crafty house and techno jams. This aesthetic is at the heart of the raw, jacking groove of Radio Slave's "F__k Em" and "This Is Our Groove" a hypnotic, minimal house workout from Rekids regular Confidential Recipe and Lady Tazz. It's also audible on the compilation's techno contributions: Slam's "Beat Control" sees the Soma duo infuse a looped groove with insistent, pitch-bent vocal samples and V111's "East Sex Rave" is a rousing, chord heavy affair. Meanwhile, Markus Suckut's "Flux" takes inspiration from Octave One's primal funk to bring the compilation to a mesmerising climax.
Review: Slam return to their Soma label with a hard-edged but distinctive four-tracker. First up is"SD 00.01", where the veteran duo bring the listener on a white knuckle ride through dense loops, an experience that's made all the more exhilarating thanks to the use of dynamic filters and frosty synths. "SD 00.02" is constructed using a similar approach, but in this instance shimmering chords and menacing stabs are fused to create a mesmerising peak-time track. The third track draws on the trance heritage of Thomas Heckmann, with epic builds copper fastened to a rolling groove, while the fourth and final "SD" track sees Slam deploy a similar approach, this time as melodic hooks are set to a dense, looped arrangement.
Review: Soma owners Slam have been making techno records for over 30 years and their latest EP sees them focus on peak-time sounds. "The Passage" sounds like it took inspiration from the hypnotic tones of Plastikman's remix of System 7's "Alphawave", fusing these elements with massive kick drums and sweeping percussion. Meanwhile, on the title track, Slam draw on classic early 90s records from UR and Jeff Mills as inspiration for its searing rave/industrial riffs. This intense release also features "Deflect": more linear than the other tracks, its pounding drums and layer upon layer of metallic percussion is no-thing short of exhilarating.
Review: Following their Archive Edits release last year, Slam return to their label with a no-nonsense dance floor techno EP. "Capture" is a searing, high-octane track, led by mesmerising filters, a repetitive vocal shriek and wave upon wave of phased percussion. The addition of Beltram-esque rave stabs adds to the sense of drama. On "False", the Scottish duo opt for a more stripped back approach, but the end result is just as effective, with hammering percussion and tough drums supporting clanging riffs. Rounding off this formidable release is "Episode", a linear club track that resounds to steely drums and a rolling, hypnotic rhythm.
Review: Following on from the latest Archive Edits release in 2019, Slam bounce back with this storming EP. The title track is a pile-driving, pounding affair that is built on visceral kicks and eerie chord loops. As its title suggests, "Primitive Shift" is a primal, tribal groove that rolls and builds against the backdrop of a spiralling acid line. "Container" sees the storied duo draw on early 90s influences to deliver a chilling, hardcore-themed banger, while rounding off the release "Zero Dip" is a powerful looped affair; populated by vocal snippets it comes to a crescendo against a series of intense builds and drops.
Review: The last commercial mix that Robert Hood did back in 2008 for Fabric re-ignited his career. Appearing at the tail end of minimalism, its hard-edged sounds provided a welcome relief to the prevailing sound. A decade on, the 66th DJ Kicks finds the Detroit artist once again in firing form. "Focus" signals his intent with its massive siren riff and pounding drums, while "Clocks", which builds and builds to electronic bee swarms, shows that he has lost none of his minimal techno firepower. Sure, there are other fine contributions, like Truncate's sheet metal banger "Terminal 5" and the shadowy riffs of Marcel Fengler's "Thwack" - itself a paean to Dr Motte's "Der Klang Der Familie" - but like the Fabric selection, this instalment of DJ Kicks is all about Robert Hood.
Review: Glaswegian legends Slam are back with another single on their Soma imprint, delivering a bunch of sturdy and reliable techno tools on their new release. The duo of Stuart McMillan and Orde Meikle have had an abundance of material released this year - the Cyclone EP being their fifth thus far. Their tracks here are as powerful as ever but "Positive Education" or "Lifetimes" these 'ain't - the duo venturing deep down into the depths of the underground to deliver these pitch black and austere executions. From the hypnotic ferocity of "Antonym" with its Millsian chime melody, the steely and ferocious peak time onslaught of the title track or the full throttle mentalism of "Revolve" McMillan and Meikle take no prisoners on this aggressive release.
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