And so it goes - Seven drops an LP on us like a ton of bricks and, unlike what he has put out up to this point, he seems to delve much deeper into the rest of what the enlarged 'bass' game has to offer. 11:11 is a vast, bottomless pit of gems, ranging from the more poppy side of two-step, all the way to the sort of gear that makes your head bounce up and down...not to mention that inevitable lock-jaw! However, it's important to note that this LP is not one for cheap thrills, and that Seven has done his very best to craft as much warmth and colour out of what are usually deemed to be cold and industrial sounds of dread. Through vast landscapes of low frequencies, typically UK vocal samples, and grainy beats, this dude has his shit on control!
Like the label's previous release, Ombra International's third EP is an all-star affair featuring contributions from a quartet of artists. Veneno kicks things off with the clandestine, post-punk dub-disco trip "Attencion Especial", before Teniente Castillo blasts off into space via the psychedelic synthesizer arpeggio lines, undulating acid flashes and extended guitar solos of EP highlight "Not That Way". Perel's "Hildegard" does a fine job in straddling the thin line between mind-altering acid house and quirky, off-kilter nu-disco, while former Nein and Magic Feet duo Roe Deers steal the show via the wonderfully weird, loose and eccentric closer "Metal Ants", a track that defies any attempts at categorization.
American-Aussie alliance The Golden Filter are back on Optimo Music again with more modular synth based post-punk inflected electronics. This follows up an impressive solo album by singer Penelope Trappes a few months ago. The London based duo (by way of New York City) claim that they are quite agnostic and unreligious, but there are some Buddhist vibes associated with their music - in the way that it is mindful and aware of impermanence. Beginning with the sultry slo-mo Italo of "End Of Times" while the deep and brooding electro jam "Serenity" is offset by a charming progressive house style chord progression. The 10 minutes epic "Heart Control" is a right thriller: this deep acid exercise in mood lighting is beatless for the most part but when the groove hits: it does it with great impact. Finally the slow burning retro sleaze of "Darkness Falls" has the same charm of Heartbeat era Chris & Cosey or their legendary CTI material.
Distant Images is Dang Khoa Chau's fourth release on Antinote. The LP is further proof that this Paris based musician has been progressing in the same direction, yet digging deeper. The label describes his process best themselves by stating that his music 'is constantly trying to reach a higher level of evanescence from one record to another'. A process which was further refined after a visit from Suzanne Kraft - who he recorded an album with and released only a mere few weeks ago via Jonny Nash's Melody As Truth imprint. Reaching similar heights on the splendid opener "Keyboard Study" with its shimmering digital synthesis textures before "Days Of Steam" dives deep into authentic exoticism - where oriental aesthetics and '80s synth presets collide wonderfully. Ending the release's journey is the lush title track, bridging the gap between new age and balearic with such grace.
Blank & Jones are a German electronic music duo, consisting of the members Piet Blank and Rene Runge: better known as DJ Jaspa Jones, together with their producing partner Andy Kaufhold. For the sixth edition in their esteemed Chilltronica series, they serve up night music for the cold and rainy season. Beside some wonderful new compositions, the curators introduce us to artists like Berlin house music legend Sven Weisemann - who makes a surprising appearance with his ambient piece "Falling Leaves". UK producer Antonymes also appears with the evocative mood lighting of "Film One" and the sexy noir electro-pop of Danish trio Silent Riders' "I See You" sounds like it could have been on the soundtrack to Nicolas Winding Refn's 'Drive" soundtrack. In the words of Blank & Jones themselves, this compilation should be enjoyed as a complete work in one through listen, much like a classical composition and preferably with headphones of the highest sound quality. That's what makes the Blank & Jones compilations so unique: they bring you to something undiscovered.
Being in the game for over 15 years, Sebastian Kloft has a vast discography. A longtime stalwart of the Mobilee label, until spreading his wings and leading to some of his most creative and exciting output thus far. His vinyl only label Scenario has had releases from top producers such as Ian Pooley, DJ Honesty, Jus Ed, Dan Curtin and DJ Deep. Moreover the Berlin native's continual rise includes releases on Bass Culture, Robsoul Recordings and Tsuba. Which leads us to Sebo K's debut on Matt Edwards' esteemed Rekids imprint - which 'exhibits a refreshing sound from the established artist' and we couldn't agree more! The album is possibly a tribute to the many phases of electronic music he has lived through. The dubby breaks driven '90s electronica on "Paradigm Change" is reminiscent of Future Sound Of London or Sabres Of Paradise. "Messier 78" with it's sensual elements and rumbling sub-bass is like jazzy drum & bass from the same era: just minus the Amens. Elsewhere, "Xhale" channels the spirit of his hometown heroes Cabinet Recordings (namely the acid energy of the legendary Lemon8), while "Transitions" with its emotive and soulful tones channels the British IDM sound of early Peacefrog or Planet E.
Night Noise presents its 34th release where they steer clear of the dance floor and in doing so returns to its roots. They seek out unknown artists and provide a platform for artists on it's roster to showcase their talents. For the 'Musa' EP the label asked the artists involved to create a piece that is inspired by the people, places and music that surround them. First up is label newcomer Robert Burbidge's Rubberlips featuring Da,y whose beautiful song "Without The Moon" kicks off the EP. Ibicentric are fronted by former Sham 69 bassist Andy Prince and get remixed by Night Noise regular Mark Cooper. Regular Night Noise contributor Jamie Porteous serves up a dark trap and grime inspired jam on "Sic For The Muse" while cohorts Yarni and AWITW both deliver music that sits somewhere between chillout, balearic and experimental.
So far in his quest for the perfect sonic landscape, Carmen Villain has released some absolute beauties for Norway's Smalltown Supersound, an imprint which simply will not stop replenishing our charts with utterly stunning material. Since day one. This time, however, CV only appears on the credits, as two of his tunes are reworked by fellow electronic deviants residing at the very edges of the left-field. Kiara Lewis morphs "Borders" into a magnetic yet hollow blend of airy drones, supported by subtle beat infusions which serve to give the synths the movement they require; the legendary Biosphere, another Norwegian legend, remixes "Red Desert" in fine style, going for a broken beat which neatly delves into blurry, pale-faced electronica of the highest calibre. Stunning.
Astonishingly, this is Czech producer Mr Moustache's first release in eight years. It is, though, rather good, and features a quintet of cuts inspired by the peaks and troughs of relationships. He kicks things off with the sparkling, Daft Punk style summer-time disco revivalism of "Miss Starlight", where former Freak Power man Ashley Slater stars on the mic, before simmering things down for the seductive, boogie-laced R&B pop of "Night Delight" (which, incidentally, is also available in a the XXX-rated "Explicit Mix" form). Elsewhere, Lippi takes to the mic on the slow and groovy reggae-disco vibes of "Don't Say" and "Emocean" is a pristine chunk of tactile, loved-up soul-pop sweetness.
As you'd probably expect, Ouie has done a good job selecting remixers to work their magic on tracks from Acid Pauli's recent sophomore album, BLD. We were initially drawn to Red Axes' superb take on "Ayam", which oozes psychedelic, head-turning intent (much like the Israeli duo's original productions, in fact) and thrilling changes direction a number of times whilst retaining a heavy, dub-inspired groove. There's no doubt this remix stands out, but there are also impressive turns from Nico Stojan, whose gently unfurling version of "Majid" achieves a fine balance between club-ready punch and head-in-the-clouds attractiveness, and hypnotic tech-house/deep house fusionist Sainte Vie.
Manchester's Joe McBride pens elaborate, emotive and intellectual soundscapes, drawing in influences across a spectrum of bass culture and electronica. He's released on Exit Records, Brownswood, Styrax, Auxiliary & Med School, as well as remixes for Model 500, Snow Patrol, Lowb and more. Synkro has truly found a home on R&S sister label Apollo - who present his eighth release on the imprint. "Hand In Hand" channels the aesthetic of the Autonomic sound from several years back, effectively bridging the gap between half time drum & bass, deep house and a subtle pop sensibility. Similarly, "Vanishing Point" explores the grey area with its slowed down breaks and dark sub bass providing some familiarity but the lush pads, soaring arpeggios and digital pan pipes altogether add an original touch.
Inspired by the slightly unlikely collision of the Thai music of the '70s and The Shadows, Khruangbin - the name means 'aeroplane' in Thailand - are purveyors of a deliriously mellow and beguiling form of jammed-out power-trio guitar music - far removed from standard notions of psych and dreampop, partly owing to its pan-global influences, its nonetheless both psychedelic and dreamy, not to mention possessed of an unhurried, reflective and spacious lilt that renders this Texan-London outfit a rare treat in an information-saturated age, taking on delicate soul and funk with exotic atmospheres and making the journey feel both blissful and effortless.