Review: Dixon had been under the radar for a few years, but nowadays it seems that there isn't a week goes by without him releasing a new record. Folowing his expansive recent album and the hard-edged release on Frustrated Funk comes this more accessible record for Subspec. Gloomy chords and wiry percussion breeze across the rattlling groove of "Untitled 1", while "Untitled 5" is more pacy and bristles with eerie synths. But it's "Untitled 2" that emerges as the clear highlight. Deeper and more subtle than the previous tracks, its doubled up beats, trickling streams of percussion and hypnotic chords make for some of Dixon's most engaging music.
Review: Terrence Dixon's remarkable series of releases continues with Escape. Like his recent record on Delsin, "Beat" sees him move away from abstract sounds and embrace the full-blooded dance floor approach. Swirling filters move in over a rigid, metronome beat and even though the enveloping pads are spacey and dreamy, he keeps his focus on the dance floor. The title track is an entirely different matter, with its detuned, drunken sounding bass suggesting a move back to more abstract territory. He completes this move on "Another Space", where dreamy synths and a fragile, shuffling rhythm prevail. The only remaining question is whether he can maintain this remarkable form.
Review: French producer EinKa has pulled off something of a coup for this EP on his own Goldmin label, joining forces with Detroit legend Terrence Dixon. The duo delivers two collaborative tracks. First, they serve up the heartfelt, melancholic deep house creepiness of "The Edge", before moving further towards standard techno territory with the hissing Motor City cymbals, undulating rhythms and downbeat chords of "Subconsciously". Each producer also delivers a solo track, with Dixon's spooky, deep space-meets-underwater workout "Clear Road Ahead" just edging out EinKa's bustling deep house cut "Tension" in the 'best track' stakes.
Review: Reactions to the news that Marcel Fengler was going to mix Berghain 05 focused on the fact that he is the club's most overlooked resident. This is to do Fengler a disservice and to understand the club in the narrowest context possible. If anything, the trajectory Fengler follows here defines the broad brush strokes played out in the Berlin club. There's the eerie intro which moves from Dettmann's vocal version of Emika's "Count Backwards" into Peter Van Hoesen's spacey, bleeping "Axis Mundi". Classic sounds always form an integral part of Fengler's approach and this is evident on Octogen's widescreen yet menacing electro reshape of Terrence Dixon, the wiry 90s minimalism of Ratio and in the alternate version of Secret Cinema's chord-heavy early 90s classic "Timeless Altitude". In between these sounds, Fengler proves his technical prowess, moving effortlessly from the drones and broken beats of Dr Walker's take on Byteone and the Regis version of Tommy Four Seven's "G" into straighter, albeit bass-heavy techno and house from Duplex - remixing Gerd- and LB Dub Corp, who delivers a new, multi-layered take on Fengler's own "Thwack". Put simply, Fengler has that rare talent that most DJs lack - he can put together seemingly disparate tracks without losing the flow. The club he resides at provides Fengler with a blank canvas and this mix is his masterpiece.
Review: It's the onset of a brave new era for Ostgut Ton as Panorama Bar 06 signals the label's decision to halt the manufacturing of CDs for their much loved series of mixes. Due for free download via the Ostgut site on August 11, the Berlin operation have not forgone the vinyl format with all the exclusives gathered by mix curator Ryan Elliott pressed up across a pair of 12" samplers. And boy did Elliott call in the favours with this first sampler featuring new and unreleased music from Neworldaquarium, Roman Flugel, Terrence Dixon, Tuff City Kids and Borrowed Identity. It is an overall exquisite selection, running from the ambience of NWAQ's contribution to Flugel's big room stomper and the sweeter, more playful sounds of Tuff City Kids and Borrowed Identity.
Population One - "Code Of Conduct" - (5:09) 129 BPM
Population One - "Concrete Playground" - (4:33) 125 BPM
Terrence Dixon - "Touching Bass" - (4:07) 128 BPM
Terrence Dixon - "The Beholder" - (4:21) 120 BPM
Review: It's a good thing that Terrence Dixon wasn't being serious when he announced that he's stopped making music. In this day and age, he is the one true pioneer left in Detroit, and his utterly singular brand of techno is an essential part of our daily existence here at HQ. This time, Dixon returns under his own name and under his most successful alias, Population One, on one split EP for Developer's Modularz label. "Code Of Conduct" and "Concrete Playground" represent the Population One side, the first tune being a subdued kick filled with cavernous space above it while the latter is more classic Population One thanks to those bizarre melodic twists. Dixon serves up "Touching Bass" and "The Beholder" on the flip, two jazzy techno sculptures that are instantly recognizable as his own. Recommended, as always.
Review: Earlier this year Terrence Dixon announced plans to retire from making music with immediate effect, sending shockwaves through a techno community that was still basking in some fine recent albums for Tresor and Surface Records and a clutch of 12" material. One of Dixon's final acts before coming to his decision seemingly was to record A Mind Of His Own, this EP for Metroplex and if it is indeed the final piece of production work from him, it's a fitting send off with Juan Atkins' label one of the first to usher in his work as Population One back in 1996. Opening cut "Musical Promises" is Dixon at his most enveloping, especially when the brisk percussion drops out to let the thickness of the production consume you, whilst "The Jazz Student" and "Starting Over" are as good as any of the lithe, alien techno that he committed to the Reduction cause.
Review: If anyone is able to make the concept of a 21-track, space travel-focused album work in 2017, it's Terrence Dixon. The Detroit artist has enjoyed a creative purple patch since he came out of retirement a few years ago, and Twilight reinforces the fact that he will always be one of modern electronic music's most individualistic talents. It contains deep jams ("Mission Incomplete"), more abrasive cuts - check "Inside Radio Room" and "I Stay Posted Up" - alongside abstract oddities like the half-heard vocals and detuned bleeps of "In Orbit" and the warbling synths on "When At Home". The common bond here, as is the case on all his works, is the idiosyncratic Dixon brings to each track, as if he is beaming his nuanced approach in from outer space.
Review: One would immediately not pair Thomas Fehlman, the renowned German experimentalist, with techno minimalist Terrence Dixon, but this album still makes perfect artistic sense. Although the pair had never met before they recorded it around the time of last year's Detroit's Movement festival, their sensibilities overlap seamlessly from the outset. Fehlmann's playful abstract nuances and Dixon's pointillist sense of repetition make tracks like "The Corner" and "Patterns & Senses" danceable but also deeply experimental. While Dixon's hypnotic approach takes over on the driving "Strings In Space", in the main, this is an work of creative equals, as the steppy "Experiment 3" and the deep space ambience of "Landline" demonstrate.