Review: Tronik Youth returns with more brooding EBM grooves in the form of "The Shaker" on his London/Berlin based imprint Nein. Steely vintage drum computers face off with rusty, grinding arpeggios and teutonic vocal chants - all you need right here! Two awesome remixes are included: Correspondant's Bird Of Paradise delivers a typically neon-lit, '80's rock styled rendition that's full of soaring guitar feedback, but Barney Khan's remix is the one that really delivers a different perspective. A nefarious, monstrous slow burning techno version in the vein of Happa or Sawf that soundtracks the oncoming apocalypse in wonderful fashion. The young Berlin based producer is behind Bis Bald Records and in our opinion: one to watch!
Review: It was inevitable really, Nein's Tronik Youth - possibly the UK's chief exponent of moody New Beat influenced tunes, and Mexico's nascent sleazy EBM scene, they were always going to collide, weren't they? Here we get the former's Abandoned remixed by three of the latter's best. Needless to say, the results are astounding. Ands Mega is up first, tackling "Don't Space" and turning in nearly eight minutes of cool, 4/4 bleepy electro/EBM. The same track is then reworked into apreggiated, Horrorist-style electroclash by Fausto, and lastly Modulaire turns "Ausgang Children" into the kind of slow and tormented body music adored by the likes of Ivan Smagghe.
Review: Finally on digitsal. Rotten City based in Madrid, is overseen by partners in crime Alvaro Cabana Juliana Leyva, and born to maximize synergies between different music scenes, breaking barriers to get to a common factor: quality music without pigeonholing. Nein Records man Tronik Youth handles the debut release from Rotten City, backed with remixes from the esteemed Red Axes and Richard Sen. Guided by the force of synths, "Malice Of Absence" is an intense voyage to the depth of strobes and flash... For their remix, Red Axes steers the listener towards a Balearic sunset governed by the melodies of Art of Noise, the horizontal flights of Vangelis and the spiritual calmness of Mr. Fingers. Richard Sen rises the speed gently and resolves the equation that the German cosmic exposition has deposited under a mirror ball of The Loft in a space with a life of its own.
Review: Politically, a lot of the UK is feely pretty abandoned at the moment and somehow the ominous sounds of Tronik Youth's trademark moody style seem to perfectly capture this current national mood. The title track is six minutes of taut, gothy bass twang whipped by tortured rhythmic snaps and haunted by ghostly atmospherics. Eerie and intense. Meanwhile the mood is lightened by the lo-fi Chicago inspired, bleepy slammer "Don't Space". Elsewhere the tune is turned into melodic tranciness by Tunnel Signs and hedonist EBM (think early Black Strobe) in the "Man2.0 Single White Female Remix. Funboys also deliver a cool, minimal horror-electro version.
Review: We've come accustomed to Nein founders Tronik Youth serving up electronic music that's on the psychedelic end of the spectrum. "Rope Dancer" configures to this stereotype, and sees the duo lace bold, alien synthesizer riffs, spiraling electronics and wonky vocal samples atop a forthright, mid-tempo cosmic disco groove. The duo's accompanying Dark Dub wanders further into skewed, late night territory, largely by further emphasizing their bold synth-work. While Curses continue the trend on their slightly pitched-down remix - check the clicking percussion and hypnotic, looped-up synthesizer motifs - Ron Basejam flips the script entirely, turning the track into a warm, feel good, disco tinged deep house shuffler.
Review: Following on from releases from cosmic disco legend Danielle Baldelli, the latest EP on Nein comes from its owner, Tronik Youth. The title track is an infectious electronic disco groove with hints of muffled new wave vocals and an industrial rigidity to it. "Never Said, I Never Said" is slower and more pared back, as a droning groove and soaring synths crackle with electric energy. Nein has commissioned two producers to remix its boss; the first sees Cabaret Nocturne re-imagine "Never Said, I Never Said" as a sinister, stepping disco groove, while Jonathan Kusuma turns the title track into a hypnotic, sleek techno pulse.
Review: Happily, Tronik Youth's latest single isn't a cover of the Stephen Sondheim show tune made famous by Liza Minnelli, but rather another mid-tempo trip into the style of chugging, psychedelic nu-disco they do so well. The original - all speak and spell vocals, bubbling synth-bass, loose beats and intoxicating electronics - is accompanied by a trio of largely impressive remixes. Rodion ups the tempo a little, smoothing out the groove while adding some attractive, top-end melodies, before Tronik Youth delivers a wilder, tougher Nite Dub of their own. Finally, Samuel Bardah delivers the knockout punch, infusing his fine rework with bold horror chords, psychedelic synth lines and all manner of trippy effects.
Review: Tronik Youth's "The Healer", a six-minute EBM gyrator, laced with bleeps, fizzes and a sample of a televangelist delivering a deranged rant, receives a royal treatment of reworks. The Emperor Machine rocks up with a 12-minute cosmic cut of punk-funk, while Danielle 'the King' Baldelli turns in an epic Italo disco rework with help from DJ Rocca. Chris Massey meanwhile goes on an 808-fuelled acid frenzy and Max Jones turns in a darkly cool electro-meets-disco rerub. Awesome.
Review: Having spent much of 2014 impressing with his superb (and delightfully eccentric) CTRL+S Edits series, Tronik Youth returns to the world of original production. As you might expect, "Splinter Of The Mind's Eye" chugs hard, with psychedelic vocal samples, trippy electronics and twinkling piano flourishes wrapping themselves around a druggy, Italo-influenced groove. It's rather good, all told, and sits somewhere between murky nu-disco and early '90s "intelligent techno" (think Brown Album-era Orbital). The remix package is particularly strong, with similarly psychedelic interpretations from Peza and Two Mamarochos being joined by a brilliantly ragged, armour-clad acid tweak from Los Lopez. Best of all, though, is the Dark Strands remix, which turns the track into a sensual, slo-mo Balearic chugger.
Review: Perhaps the most striking thing about Tronik Youth's Control+S Edits series - aside from the undoubted quality of his re-rubs - is its unpredictability. Previous installments have variously doffed a cap to post-punk madness, new beat, EBM, synth-wave and forgotten disco-not-disco. Happily, this fifth volume continues this theme. Opener "Betty Spaghetti" sounds like a long-lost, new wave era proto-house gem (all tactile electronics, wonky drum machine rhythms and hedonistic vocals), while "Coco-Nutz" comes from the weirder end of the EBM/post-punk spectrum. As for Trans-India Express, it sounds like Bollywood producers fantasizing about an unlikely alliance between Kraftwerk, Patrick Adams and Bohannon. It's seriously strange, but also exceptionally good.
Review: The ever reliable Tronik Youth is back with more of what he does best - providing neon-flecked electro-disco sizzlers for arpeggiated bass fiends. However, he always add a little extra spice to the formula, and on "Suicide Doors" he takes us on a hypnotic grind with heavy nod to the jackin' end of body music. Remix-wise, Inigo Vontier gets into a trancey acid zone, Future Bones slows things down into a throbbing analogue beast and Tici Taci ends things with a bit of perky Italo-disco.
Review: We've waxed lyrical before about the quality of Tronik Youth's CTRL+S edit series, and particularly his unusual choices of source material. There's plenty of intriguing choices on this fourth installment, starting with "Yo Yo Body", a thrillingly rolling rework of Dr Felix's 1989 new beat classic "Relax Your Body" (the original was a cover of the KLF's '88 version of "What Time Is Love"; the version edited here is the lesser-known flipside remix, which dispenses with Drummond and Cauty's familiar refrain). "Spy vs Spy" breathes new life into a long-forgotten, Italo-era EBM jam, emphasizing the filthier elements of the original, while "Beta Sex" expertly stretches, cuts and tweaks a sludgy, breathless chunk of coldwave sleaze. The result is another on-point collection of weird and wonderful late night re-edits.
Review: Neil Parnell (aka Tronik Youth) has been a staple of London's electro scene for about 10 years now. Lately he's been putting out some seriously fine mixes and re-edits, but here he's just dropped a brand new production. "Zulu Whiskey" is a slowly escalating electro-houser with severe new wave/Balearic leanings - always a good thing in our book. There's plenty of remixes too, including Gemini Brothers' deep and fuzzy italo/cosmic workout and, best of all, the filthy and broken EBM thruster of a mix by man of the moment, Emile Strunz.
Review: Given the ubiquity of bog standard disco edits these days, it's always refreshing to hear a collection of reworks that does things differently. The first two installments of Tronik Youth's CTRL+S Edits series did just that, variously offering edits of new beat, new wave, Italo and obscure '80s alternative rock tracks. This third volume offers more left-of-centre tweaks, sensitively edited to provide maximum dancefloor enjoyment. Choose between the cacophonous percussion, woozy synths and rubbery bassline of skewed pop cut "Boat Rocker", the sludgy, slo-mo '80s weirdo rock of "Bunny Boiler" - replete with cosmic effects and Baldelli-ish wrong-speed vibes - and the tongue-in-cheek midtempo Italo silliness of "Roll & Rock".
Review: Londoner Neil Parnell shot to fame with some killer releases on Back Yard in the days when having a pun as your artist name was de riguer (mid Noughties). Since then he's released an album, DJed everywhere and kept everyone happy with a series of regular mixes. Here though it's simply about the music and we get four juicy scalpel jobs including a spaced-out version of Joey Beltram's Energy Flash ("Energy Rash"), soulful synth disco ("Body Wanted") and a storming Italo Disco version of The Safety Dance ("Health And Safety").
Review: Given the ubiquity of straight-up disco and boogie edits, it's heartening to see Tronik Youth doing things differently with this fascinating release. The four tracks are decidedly sludgy and left-of-centre, from the dreamy slo-mo Balearica of "Rare Breed", to the clanking, metallic rhythms and curious rock vocals of the strangely stomping "Electric Baby". Best of all, though, are the two tracks that bite old EBM and Belgian new beat jams. Opener "What Is Love" is particularly potent, with mid '80s house riffs riding a deliciously dirty, analogue-heavy new beat groove. The pulsating "Body Heat" - think "Sensoria"-era Cabaret Voltaire with a twist - is almost as good, and one of the most interesting edits you'll here for a while. Three cheers to Tronik Youth for doing things differently.
Review: Neil "Tronik Youth" Parnell has been fairly quiet of late, so it's nice to see him back in action, dropping an expansive EP featuring no less than six remixes. His original version of "Pain Relief" is fairly typical of his heavily electronic, analogue-influenced space disco sound - all undulating synthesizer riffs, relentless drum machine handclaps, wonky vocal samples and hypnotic acid tweakery. The accompanying remixes vary wildy, but are for the most part rather good. Arguably the highlight is the Hardway Brothers druggy, pitched-down analogue techno take, which continues their run of remarkable reworks. Elsewhere, there's a bubbly, nu-disco meets deep house take from DJ Steef that's certainly worth a listen, and a delicious Pet Shop Boys-go-Balearic (well, kind of) interpretation from Ben Macklin.
Review: Although Tronik Youth started off as an elector house expert, his very particular strain of nu disco is what's really caught on among our chart-folk. Here he is on Tici Tici with a sublime little horn-blaster in the form of "Always Waxing", a devious club lick that has that rare characteristic of not really belonging to any genre, but simply to the world of dancing. The trio of remixes come from Planet Jumper and his grizzly bass reinterpretation, Duncan Gray's deeper, broodier and absolutely killer version, and Steve Cook's more digi-friendly, paceman-reminiscent take.