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: 6SISS who releases on R&S and Matthew 'Killawatt' Watt have come together to form an industrial supergroup, Motive Power. What better place to release its output than on 47? "Rubble & Dust" sets out the pair's sonic agenda, with garbled German vocals playing out over a strangulated broken beat rhythm. "Brass Knuckles" is straighter, with pounding kicks and nail-gun percussive jolts providing the backdrop for screeching electronic feedback and wild shrieks. That approach continues on "False Testimony", where the rhythm is more stepping, but the intensity levels are the same thanks to wave upon wave of noise. "Dissolve" is just as punishing with the pair delivering a stomping, swampy banger.
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: Simon Hayes aka Swarm Intelligence makes his debut on Tommy Tommy Four Seven's label with this pile-driving EP. 47022 starts in intense form with the skull-crushing broken beats and bleak sound scapes of "Infinite Destiny". "Retribution" follows in a similar vein, with Hayes dropping disturbing shrieks and howls against the backdrop of visceral bass licks that drop in and out of the arrangement. "Chromium Chambering" is slightly less frenetic, but at this slower pace, Hayes has an even freer hand to explore darker tones and blasts of visceral electronic noise. The aptly named "Dismal" closes out the release with sucker punch drums mapping out the path for a dirge-y arrangement.
Review: Matthew Watt aka Killawatt is one of the most regular artists on 47, and 47021 is his fourth outing for the label. It's not hard to understand the appeal of his music; it's dark, visceral and highly distinctive. On "Your Face Is A Shovel", this takes the shape of thunderous kicks and growling electronic riffs, while on "Jaguar", Watt delivers a stepping rhythm that's shot through with spine-chilling orchestral strings, the mixture of grime and classical musicality proving alluring. There are no such subtleties on "Kingston Krak", with Watt relying on pounding broken beats to get his point across, while "Battle Practise" sounds like what would happen if Bad Brains turned their minds to dub step.
Review: Tommy Four Seven's label is already synonymous with the more visceral end of techno, but Scalameriya's 47018 pushes the sound to the extreme. The Serbian producer, known for his work on Perc Trax and Power Vacuum, opens with the mind bending dark techno grind of "Ghroar", whose title sounds like a death metal band. On "Zethrei", he opts for filtered broken beats that move in and out of groaning drops and splintered percussive volleys - before the arrangement threatens to collapse in on itself. "Runna" marks a return to a straighter, peak time techno approach - albeit with more spaced out filtering - while the relentless style keeps going right till the end with the splurging, broken beat "Krimzon".
Review: Carrier is a collaborative project between UK producers Overlook and Positive Centre, with its debut record appearing on Tommy Four Seven's label. "Blue Nine" starts off the release in brooding mode with pummelling industrial rhythms, bleak riffs and bursts of white noise, while on "Counter Illumination", the pace picks up as the duo delivers a sledge hammer cocktail of noisy bass and rough, distorted drums. "Suggestion" is deeper and more evocative thanks to the use of mysterious vocals, but the same concrete weight kicks prevail, while "Foreshadow" ends the EP in a similar vein thanks to its splurging low end and chilling synths.
Review: The latest artist to feature on Tommy Four Seven's label is Matthew Watt, aka Kilowatt. With an extensive catalogue to his credit on labels like Osiris and Inverted, the UK producer is an ideal candidate to appear on 47. It appears that Watt is also happy to follow the same approach that has prevailed on previous releases. "Meiotic Drive" is a slamming, frenetic ghetto techno track, shot through with wild acid lines and noisy riffs. On "Mate Choice", Watt opts for an industrial-tinged variant on the stepping techno that Frozen Border specialised in, with chain mail percussion dominating, while on "Base Analogs", a more subdued version of this sound prevails. Finally, "Allelic Drift" sees Watt deliver an austere, abstract workout.
Review: After a series of split releases, Headless Horseman is the first artist to get a full EP on Tommy Four Seven's label. 47009 provides a show-case for the side project that has been steadily developing over the past few years. On "Widow's Peak", a distorted hoover riff and ghostly howls unfold over a stepping rhythm and intense percussive bursts, while on "Shattered", Youngman invokes a supernatural sensibility to deliver a droning, industrial workout. "Bleeding Arrows" is slower and more tortured, with massive gut-busting subs underpinning noisy textures, while "The Day She Vanished" sees the pace revert to a limp as Youngman lays down a frazzled death march dirge.
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.
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