Review: Following the release of his debut album on Detroit Underground back in 2016, Eddie Symons aka Nullptr now drops an EP for the seminal Central Processing Unit. With its wiry, skeletal rhythm and unsettling synths, "LPC-10" sets the tone for the release. "Polytopes" is slower and more atmospheric, while the title track sees Nullptr veer into a Drexciyan netherworld that is populated by rumbling bass and queasy tonal shifts. Drawing on another key influence from the electro canon, Symons drops the ERP-sounding "Skyline" - although it is somewhat less reflective than Gerard Hanson's alter ego - before returning to the same familiar ground as "LPC-10" with the eerie synths and paranoid warbles of "Mothership".
Review: Joan-Mael Péneau aka Maelstrom is best known for his releases on Hacker's Zone imprint, but it was only a matter of time before his work appeared on CPU. This mini-album veers in style from the melodic, reflective title track to the frenetic, dense drums and high pitched bleeps of "Letter From M". On "Lost Echoes", he recruits the like-minded Djedjotronic for a slowed down ride through contemporary electro, while on "Vznietit", the French producer combines layers of heavy acid with a pumping, dark bass. With a nod to CPU's own love of the bleep techno and Autechre electronics from its Sheffield hometown, Maelstrom rounds off this impressive EP with "Dialectics" and "Praxis" respectively.
Review: In his formative years, Neil Landstrumm was a huge fan of "Yorkshire bleep and bass", the sparse, sub-heavy style of techno that emerged from the North of England at the tail end of the 1980s. He's paid tribute to it in his music on many occasions, though never in as concentrated a way as found on this fantastic EP for Chris Smith's brilliant CPU imprint. For proof, check the aggressive electronics, Xon style melodies and "LFO" sub of opener "The Tomorrow People", the early Orbital style "bleep and breaks" of "Chrome and Ferric", the deep space brilliance of "Sahara" (which our resident bleep nerd compared favourably to Robert Gordon's legendary remixes of Cabaret Voltaire's "Easy Life") and the mind-altering late night sleaze of closer "The Chemical Con".
Review: While many electronic artists operating in the underground would kick their catalogues off with some EPs here and there, Andy Brown, codename AB2088, preferred to drop two debut LPs before landing on Central Processing Unit with this mighty 8 treck release. Right from the start of "All The Eyes", you can hear that this dude likes to create music rather than effective tracks, with all sorts of deep and complex musical harmonies encircling the air above the tune's more straight-laced beat groove. Even on the flipside, namely through the excellent "TX0", you can hear a story being pieced together, a tense and energetic bundle of sounds yearning to explode out of the system. Deep, deep electro thrills for the lovers...
Review: Since launching five years ago, Chris Smith's Central Processing Unit label has risen to become one of the finest purveyors of electro, IDM and intelligent techno on the planet. Here, Smith has decided to celebrate the story so far with a luxurious, double-vinyl set featuring brand new remixes of CPU catalogue classics. There's naturally plenty to set the pulse racing throughout, from the braindance-goes-techno rush of Missqulater's remix of CN's "Zener Diode Blues" and the Motor City-meets-the-Steel City brilliance of Plant43's rework of Blixaboy, to the sludgy, slo-mo bliss of Noumen reworking B12, and the latter's thrillingly beautiful interpretation of Ms Jynx's "Diving Loop". In other words, it's a brilliant collection of analogue electronic music from some of the greatest talents in the game. We wouldn't have expected anything less, to be honest.
Review: Nowadays Dean Marriott is best known for his work as D.Ramirez, but back in the early 90s, he was making bleep techno as Detromental. The short-lived act's music became the stuff of legend in Sheffield, home to Warp, a label that Move should have but never did appear on. Fast forward over a quarter of a century and Chris Smith, the boss of another Steel City label, CPU, tracks down Marriott and proposes to release rebuilt versions of "Move" and "Rewind". Despite no one knowing where the master tapes were, both tracks were reproduced using the original synths. Mysterious synths, system-levelling bass and insane frequency tweaks come together over streamlined arrangements that lose none of the excitement of the early 90s.