Review: Tommy Four Seven's label celebrates five years of releasing uncompromising techno with this fine compilation. It gets off to a clubby start with Killawatt's rumbling, tribal "Champagne Prerogative", while on "Threads", Carrier drops a Regis-style broken beat stepper that resounds to rumbling bass and ghostly textures. Meanwhile, Headless Horseman occupies the middle ground between straight techno and stepping rhythms on the multi-layered, mesmerising "Sand Mountain". NN takes this approach to its brutal, logical conclusion on the electronic feedback and cranium crushing kicks of "Deception", while the label owner teams up with Ancient Methods to deliver the pounding industrial rhythm and static crackle percussion of "XIX".
Review: Tommy Four Seven has commissioned remixes of tracks that featured on his acclaimed Veer album from earlier this year, getting some of electronic music's most respected electronic music involved. Machine Woman delivers a slow-paced tribal take on "Radius", while in a similar vein, Pessimist's version of "Dead Ocean" resounds to robust broken beats and industrial undercurrents. At the other end of the spectrum, Parrish Smith of L.I.E.S fame turns "Colony" into fast-paced, pulsating techno groove tailored for murky basements, while Silent Servant's remix of "Aphelion" is an atmospheric, acid-led electro workout. It's an essential remix collection.
Review: Tommy Four Seven's eponymous imprint returns with more bleak and dystopian techno tools of industrial strength grade. Featuring the always ferocious Ancient Methods and the wonky drones of "System", Berlin duo Oake hypnotise you into submission as always with their esoteric imaginary soundtrack entitled "Anaxamines" before Italian producer VSK delivers the EPs finest moment on the rather Surgeon sounding broken techno stomper "Breaking Symmetry". The man himself T47 closes this fine EP out with the shredding body bash of "Dromod" that's mangled up amongst metallic textures, grinding sub bass and generous servings of clipped distortion; business as usual!
Review: The seventh instalment on Tommy Four Seven's label spans a wide gamut of modern techno. At one end, there's the simmering, droning abstractions of Eomac's "Refugee", while at the other end of the scale, the label owner drops "UUU", a peak-time acid banger that cruises with murderous intent. In between both of these extremes, the release yields two tracks that in many ways encapsulate the ever-shifting nature of modern electronic music. Cosmin TRG and Szare come from different backgrounds - the former originally from drum'n'bass, the latter from purist techno - but on "Singe" and "Invern" respectively, their rumbling rhythms and textured atmospherics arriving at the same destination from different start points.
Review: The sixth split release on Tommy Four Seven's label is a diverse affair and reflects the across the board soundtrack of the Berlin night of the same name. 47006 starts with Headless Horseman's "At The Gates" a rumbling slice of stepping rhythms shot through with understated menace. Pushing up the tempo is Phase Fatale's "Under Marble" where cyber punk industrial collides with a pulsing groove. Straight after that Stephanie Sykes throws a curve ball with the hypnotic dub of "Sakura" while the label owner retreats to the shadows. Inhabiting the same space as the mysterious Headless Horsemen "Bactria" is a noisy grunge techno stepper
Review: The latest release on Tommy Four Seven's label features tracks from the guests who performed at his night in Arena, Berlin back in February. It's a mixed bag. Amotik's "Sau" is a proper, 90s-influenced peak time affair - redolent of Luke Slater's infamous remix of "Forklift" its shrieking sirens unfolding over relentless kicks. Shlomo's "Golem" also plays out on the dance floor, although its sleek pulses and steely percussion are less intense than Amotik's contribution. The two other tracks, from the label owner and Pfirter, revolve around broken beats. Tommy's "Funf" is a dark, layered workout, while "Homeostasis" is less intense thanks to its subsonic bleeps, but those clanging drums lend it some serious weight.
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.