Review: Mysterious Russian producer Art Crime has previously impressed via releases on Phonica and William Burnett's W.T Records, so it's little surprise to find him popping up on Creme Organization. Nor is it surprising to find the Renessence EP another superb releases that fully showcases Art Crime's talent for the old ivories. "Anxiety Is Always Here" is surprisingly melancholic, with drifting, Detroit influenced chords and tear-jerking pianos complimenting a rolling groove, while "The Owner" is an altogether spookier, more discordant bubbler. There's a fantastically jazzy feel to title track's hissing cymbals, mournful synth strings and minor key melodies, while closer "Intention" is almost ecclesiastical in its use of cathedral organs and heavenly electronics.
Review: Having disowned his drum and bass and disco re-edit roots, Stu Robinson has enjoyed a career revival following the adoption of the ASOK moniker in 2012. This upturn in fortunes is no freak occurrence, though; Robinson's productions during the period, which make great use of vintage analogue gear, are better than ever. That much is clear from A Mind Forever Voyaging, his debut album on Creme Organization. Rooted in early '90s techno - both American and European - the set blends distorted drum machine rhythms and intergalactic synthesizer motifs with booming basslines and spooky, outer-space textures. There are, naturally, a few ambient excursions dotted throughout, as well as an impeccable trip into the lesser-explored world of tech-jazz ("Journey Through Fractal Mountain").
Review: Stu 'Asok' Robinson has come a long way since making his debut on Use of Weapons in 2012, progressively moving further towards the analogue-rich sounds of vintage Motor City techno. The Liverpool-based producer's full conversion to the Detroit cause can be heard on this sampler for forthcoming debut album A Mind Forever Voyaging. Robinson begins with the intergalactic ambience of "6800", before blending classic Motor City chords and punishing broken techno beats on the impressive "The Killing Game Show". Finally, he pushes a pounding kick drum to the fore on the Model 500 influenced throb of "Loom (Special Beats Mix)".
Review: Toronto based Stuart Li, better known as Basic Soul Unit, returns to the Creme Organisation with a new four track EP of dirty, acid house. His releases over the last year, including his remix of Arnold Jarvis' classic house track, "Take Some Time Out" have proven his ability as a producer. This rep is only going to be further enhanced by the raw edged, Detroit influenced techno of "Tuff Luv".
Review: Basic Soul Unit follow up their Tuff Luv EP with a stellar package of "Jak D Freq" from Dave Huismans, aka A Made Up Sound. The Dutchman, best known for his productions offerings under his 2562 moniker, kicks off with the Puur Natuur mix, which strips the jacking original into a mechanical, dubbed out affair. His acid rework creates a smorgasbord of crunchy beats, squelchy basslines and general motorik goodness.
Review: With five releases in the past year, it's fair to say that Frey's star is in the ascent. Ghosts, for TLR's label, showcases his deep, hypnotic sound, and puts him in a similar place as artists like Xosar. This is especially true on "Can't Joke With Dxy" and "Faith", whose warm, tranced out synths and fluid bass sound like they were fashioned after a dreary winter's day on a West Coast beach. The title track is more abstract and freeform, with Frey using a loose rhythm to underpin his swirling synths. Lastly, there's "Scales". With its understated vocals and languid guitar, it could be the soundtrack to an afternoon spent downing cheap beers in one of the Hague's dive bars.
Review: Creme Organisation drop a four tracker from the experimental outfit, The Black Exorcist. A mysterious and elusive minimal techno soundscape merges with a dub feel to create three tracks of uneasy, tension filled disturbia. Marco Bernardi is on hand to remix "Brass Knuckles" to close the EP in style.
Review: After a killer run of releases for The Trilogy Tapes, L.I.E.S. and Rush Hour under his many monikers, William Burnett returns to DJ TLR's Creme Organization with Run From The Sunset EP. Be it crafting lo-fi power house for L.I.E.S and Creme Organization, dreamy synth sessions for NYC label Sequencias or unlikely club anthems like "The Overlord" for Will Bankhead's Trilogy Tapes imprint, William Burnett ranks alongside Legowelt in his ability to produce frazzled house music weighted toward the not-so serious end of club techno. His return to Creme sees the multi-faceted DJ and label boss canvass an array of sounds, ranging from deep, chord driven Chicago-style house to playful electronica and traversable worm-holing techno.
Review: Given his love of basement-bothering house and techno jams and early morning nostalgia, it's perhaps unsurprising that Marcos Cabral has been recruited to join TLR's ever-growing Creme Organization family. There's naturally much to admire on the Conversation EP, from the wonky, distorted techno dystopia of opener "Nearly Run Over", to the smacked-out, L.I.E.S style dusty weirdness of "Man's Job". Elsewhere, keep an eye out for the hypnotic, low-slung intensity of the relentlessly macabre title track, and revel in the redlined beats, foreboding stabs and white noise of "Jumping Beans".
Review: Cosmic Garden's recent EP on Happy Skull, Sealaconda, was one of the finest things the Bristol label has released to date (and that's saying something). This missive for Creme Organization is equally as inspired, with the Italian producer delivering more colourful, weed-fuelled voyages into kaleidoscopic, analogue deep house. Lead cut "Reptilian Treant" fixes warehouse-friendly piano riffs to rubbery synth bass and dense, body-popping house drums, while "Rare Centaur" is a thrill-a-minute ride that craftily combines ragged acid lines, ghostly chords, a bold cello melody, and fiendishly jacking drums. There's some deeper, woozier fare in the shape of the wonderful "Apocalyptic Moose", while Orgue Electronique provides a sparkling, Motor City influenced remix of "Reptilian Treant".
Review: Given his well-known love of cheap electronics, jack tracks and the fluorescent pulse of early '90s warehouse music, it is no surprise to find Unknown To The Unknown founder DJ Haus popping up on Clone's Jack for Daze offshoot. Helta Skelta, a four-track assault on the senses that blends the distinctive swing of vintage drum machines with riotous acid and cheap-and-cheery electronics, holds few surprises. That's not a criticism, though, since few do this kind of retro-futurist dancefloor abuse quite as well as the UTTU man. We can detect a few audible nods towards the bleep techno period, too, particularly on the sub-heavy silliness of "Back 2 Tha Future" and "Metronomy", which sounds like a mutant funk re-make of Unique 3's "The Theme".
Review: Robert Witschakowski clearly buys into the age-old love affair between techno and science fiction, judging by his track titles and the back story to his project The Exaltics. The tracks on They Arrive span a lot of different tempos, from the dubstep-meets-horror-film "See It Through My Eyes" to "They Arrive", creeping in with sinister, droney techno. "The Wrong Direction" is a brooding take on straight up electro, while "One Circle" kicks off on a solid house groove before unfolding into unabashed euphoria. It's not easy to make such varied vibes sound so utterly consistent as well being seriously good tracks, and here Witschakowski pulls it off with aplomb.
Review: As his releases for Solar One Music, Bunker and Trust demonstrate, Robert Witschakowski takes his inspiration from a variety of sources, including acid, electro and techno. This release on Creme marks a shift in his approach; gone are the blasts of acrid 303s, the frequently claustrophobic drums and the swampy techno rhythms. Instead, the German producer has focused almost exclusively on dreamy, synth-led sounds and a more esoteric approach. "Thought Buzz" is upbeat and evocative as he manages to fuse ghostly pads from hard core, while "Place" rides a groove that sits in the middle of techno's svelte pulses and the off-beat 808 shuffle of Detroit electro. Rise & Fall documents Witschakowski's willingness to embrace other styles and sounds, but it also shows conclusively that he plays by his own rules.
Review: On this EP for Creme Marquis Hawkes continues to develop the raw style with which he made his name, whilst adding a few tuneful flourishes. This is most notable on lead track "Tunnel", where a strangely familiar - and decidedly dreamy - melody adds colour to a tough drum machine groove. Similar accolades can be laden upon "Prince Among Men", which ripples with crusty rave stabs and old skool piano touches. Best of all, though, are the record's more stripped back moments; both "Sofa Acid" and the bittersweet "October Blues" bristle with percussive intent.
Review: Despite his tender years, Belgian wunderkind Innershades has a keen sense of electronic music history. This excellent first EP for Creme Organization is packed full of audible references to times past. "Nina At The Boiler Room", the EP's bombastic opener, summons the spirit of early '90s Belgian techno, reshaping it is a midtempo chug-a-thon ("Energy Flash" for the slow house generation, perhaps). The deeper, flightier title track references Larry Heard and mid-'90s dub house (look it up, kids), while the rush-inducing "The Future" combines the energy of vintage Belgian techno with the fuzziness of cheap-sounding early deep house and the stargazing melodic instincts of Detroit futurism. As for digital-only bonus "ZevenNulZeven", it still sounds like the future, despite coming on like a late '80s British deep house cut.
Review: For someone so young, Belgian twentysomething Innershades knows a thing or two about classic dance music. His previous EPs for Wicked Bass, Creme Organization and R-Zone have variously touched on early R7S style Belgian techno, new beat, acid house and slamming beatbox electro. There's more warehouse-friendly retro-futurism to be found on Dark Society, from the Beltram-ish rave blast of "Momentum" and Armando style dark house of "CVS", to the Technotronic-does-acid fun of "Oase". Best of all, though, is the title track, whose alien electronics, sharp stabs and heavy bassline recall the early days of UK techno.
Review: Since making his debut in 2013, Thomas "Innershades" Blanckaert has almost single-handedly re-invented Belgian techno. Few contemporary artists are quite as capable as drawing influence from Belgium's early '90s rave scene and bringing it bang up to date. This latest excursion - his first for Creme Organization since 2014 is full of revivalist treats, from the bleep-goes-Beltram throb of "Knowledge" and early R&S heaviness of "The Kings", to the deeper, more melodious, US garage-influenced sweetness of "Crossing Paths". Closer "Wait", where intergalactic, Motor City melodies tumble over a Frank De Wulf-meets-Mood II Swing groove, is also rather fine.