Review: Creme Organization presents part one of a retrospective compilation featuring unreleased tracks, spanning two decades of Ekman's productions. These evocative and eerie gems, hidden away in the Dutch master's archives, finally see the light of day. Whether it's the guttural and brooding machine beats of "Masters Of The Vortex", the moody computer funk of "A Way Home", to the gothic electro of "Out Of the Mouth Of The Dragon" to haunting instrumentals like "Lord Of 1000 Suns" - his sound is unique and instantly recognisable.
Review: Anyone wanna party like it's 1984? Dutch label Creme Organization serve up a collection that draws heavily on old school electro and Italo/Euro disco for inspiration. There are just three artists featured: Keyo Laboratories bring us four tracks, of which 'On The Sofa' is definitely the funkiest, while Raheem Hershel serves up charmingly-titled EBM workout 'New Wave Whore'. The rest of the album is the work of Finnish producer Sami Liuski, AKA Bangkok Impact. He delivers four tracks (in a total of nine mixes, five of 'em of 'Junge Dame'), of which the pick is 'Ice Python' itself... assuming you can handle the NSFW vocal, that is!
Review: Sub-titled "the fragile connections we make in today's muddy world of clouds, ego harvesting and AI driven augmented-realities", this compilation on TLR's Creme label moves its way through a series of styles and sounds. From the low-tempo beats of Rhythmic Theory's "Sleeper Cell" to the clanging industrial rhythm and spooked acid of R's "Iron Tusk", and Ekman's wild electro funk "Ecophagy Is A Way Of Life", Nexus succeeds in conjuring up a dense, somewhat bleak mood. Even on more dance floor-focused tracks like Simoncino's super deep "Vingas Theme and the new school jack of DB's "XXX" and", there's an otherworldly atmosphere running through the firing snares and steely grooves.
Review: Mule Driver follows last year's Rainshadow release with a brooding four-tracker for DJ TLR's Creme Organization. "Snorer" sees him start the EP with a relatively downbeat electro workout that resounds to a sombre bass. On the title track, he ups the pace for the kind of primal Chicago jam that Creme is renowned for - albeit one that features an ominous vocal. Meanwhile on "Flat Circle", he takes a trip through the kind of atmospheric, tripped out acid landscape that the Dutch label is also known for and once again, the use of vocals add an extra layer of tension to the track. He applies a similar, 303-heavy approach on closing track "Nothing Is The New Something".
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: Since proving his skills via the self-funded Raw Tools imprint, Romanian producer Romansoff has released impressive material on Bitter Moon, Signal Code and Ruff Draft. Here, he makes his first appearance on Creme Organization, unfurling a quartet of cuts that sit somewhere between Legowelt, ASOK, and John Heckle after a fist full of love tablets. Pleasingly, it's a varied affair, featuring both deep and melodious moments (the trippy vocal samples, chiming melodies and shuffling beats of "Who You Gonna Call"), and more obviously upbeat cuts (the swirling, space age throb of "Bundle Of Acid"). Our pick is the tactile, energetic and melodious "Wrath of Zeus", but all four tracks are nigh on essential.
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: 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.
Memories Of Summer (feat Vincent Floyd) - (4:24) 125 BPM
90's Theme - (3:15) 128 BPM
Dub Theory I - (6:15) 125 BPM
Space Tape 1 - (7:18) 128 BPM
Akai Afro - (6:45) 115 BPM
African - (5:05) 118 BPM
Sogno Di Mezza Estate - (6:49) 125 BPM
Review: When it comes to throttling those drum machines in the modern day, no one quite throws down the old school vibe as true as Simoncino. Classic Chicago house, jack and Detroit techno all rolled into one. Opener "Images" best exemplifies this knack Simoncino has for motor and windy city production techniques, but it's not just drums and snare tracks, with melodious basslines, leading synths and keys all getting a decent run too. You'll find hi-energy club tracks in "Nagano" and "Dub Theory" while for something deeper check out "In Viaggo" and "Planet Paradise" featuring Legowelt. Other collaborations come from Vincent Floyd in the hyper-classic sounding "Memories Of Summer", and to finish, get lost in the vocal chant of album closer "Space Tape".
Review: Lecce's Robert Crash is well known on the southern Italian techno scene and for his collaborations with fellow Puglian retrovert Marcello Napletano. Mr Crash finds a fitting home on Creme Organisation for his crusty, lo-fi, vintage house workouts. These are Ultimate Traxxx indeed! "Gigolo" is a dirty slow burner in all its gritty, dusty glory reminiscent of stuff on Jamal Moss' Mathematics imprint. The booming electro funk of "Co Art" isn't too bad either. There's also "Alziemer" a beatless affair which gets on a darker and atmospheric tip before "Fabric" does minimal house in a frayed circuitry kind of way, think of Daniel Bell jamming in an analogue synth repair workshop.
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: 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: Den Haag institution Creme Organisation appears to be making a beeline for the many talented house and techno producers residing in and emanating from Lisbon, Portugal. Thanks to his stewardship of One Eyed Jacks and releases for Don't be Afraid, UTTU, Dissident and more, Marco 'Photonz' Rodrigues is probably the most prominent of this Lisbon set, so it makes sense for the London based artist to lead the way onto DJ TLR's label with Lake Haze and IVVVO set to follow. Quite clearly paying titular homage to Legowelt, Gnosis of Wolfers really highlights how under-rated a producer Photonz is! The title cut is all about the play between sweet melodic elements and the attack of multi layered drums that seem to teeter brilliantly on the brink of all out madness, whilst "Ceremonial Acid" develops a nasty streak in a manner that will sound devastating on the dancefloor. The B side is just as brilliant. Do not pass on this one!
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: 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: Having previously impressed with a trio of decidedly clandestine EPs on Purple Maze, Hamburg producer Yor brings his atmospheric brand of subterranean techno to Creme Organization. The centrepiece of an impressive EP is the near 10-minute title track, an epic foray through post-industrial textures, maudlin atmopsherics and dark-room techno rhythms that shifts shape, focus and tempo a number of times. It's an impressive piece of work. There's plenty to get excited about elsewhere, too, with the low-key Detroit futurism of "Unbennant" and acid-tinged analogue fuzz of "Aphosis" standing out.
Review: Danny Wolfers' restless productivity knows no bounds. Not content with dropping stone cold 12" singles at a furious rate, he's delivered yet another Legowelt album to Creme Organization. Pleasingly, Crystal Cult 2080 (so called because he used a homemade crystal compressor and dusty second hand Roland JV2080- synthesizer throughout the recording process) is up to his usual high standards. There are few surprises - we should all know what we're getting by now - but plenty of reasons to be cheerful, from the fuzzy new age electronica of "The Future of Myself" and muddy Detroit futurism of "Fundamental Superstition", to the tropical pagan mysticism of "Ancient Rites Demoni Mundi" and warped acid of the feverish title track.
Review: Creme Organization's imperious year continues apace with Wildlyfe Genesis, the solo label debut from Xosar! Increasingly regarded as Legowelt's muse, Xosar of course has previous on DJ TLR's label, debuting the Trackman Lafonte and Bonquiqui 'surfer house' project shared with Danny Wolfers on Creme last year. Eagle eyed XOSAR followers will undoubtedly realise that the title track has been listed on the artist's own website under the unreleased tracks section, and the label state the accompaniment "Eye Of The Wavestorm" is of a similar vintage, dating back to the time of her debut release on L.I.E.S. Regardless of their age, both cuts have that timeless mystical quality that all Xosar material comes soaked in and the cover art for Wildlyfe Genesis features a further demonstration of Xosar's visual talent.
Review: Renowned analogue fetishist Simone Vescovo makes a welcome return, popping up on the mighty Creme Organization with another EP of spine-tingling late night atmospherics. As with his recent LP for Mathematics, Open Your Eyes, Vescovo plays around with moods and tempos, delivering a pair of impeccable synthesizer soundscapes (the brilliant "Interval I" and "Interval II") and a trio of vintage house tracks. With its undulating melodies, clattering Chicago drums and melancholic chords, "Tape 1" sounds like Behaviour-era Pet Shop Boys produced by Larry Heard. There's more Heard influence on the gorgeous, heartbreaking "Tape II", while "Tape III", with its winding new age melodies and hissing cymbals, sounds like a long lost Burrell Brothers' Nu Groove-era masterpiece.
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: Creme Organization proudly give us a digital version of Orgue Electronique's remix of "Our Discovery" by Henry Saiz - a certified booty-shaker in itself! Mr.Orgue is a master on those keyboards, and his densely italo approach stands out loud and clear in the mix, combined smartly with a contemporary house flex and manifested here by a swooping layer of low frequencies. It's one of those tracks for both home usage and dance floor destruction - the decision is yours, make of it what you will - recommended!
Habituation Micturation (feat Kevin Reynolds) - (5:30) 125 BPM
Front Butt - (5:42) 120 BPM
White Monkey Holding Peach - (5:08) 118 BPM
Spite Donkey Scolding Leech (bonus mix) - (5:12)
Review: Having come to the fore with a quite superb outing on Speculator's WT imprint last year, Alex Israel adds another respected label to his discography with the Front Butt EP on Creme Organization. Described by the label as Chicago's own overlord of deranged deep house, Israel comes good on this with four tracks that align perfectly with the Creme Org aesthetic. Misty analogue textures sway rhythmically around the relative calm of opening track "Mongo Raw" which don't really prepare you for the outright jam that follows. "Habituation Micturation" is one of those effortlessly effervescent Motor City productions, raw and dusty and driven by the kind of uplifting melodic touches that tease your feet into action. It also features Detroit secret weapon Kevin Reynolds on speakerboxx duties revealing the frustrations of living in his neighbourhood, specifically some crack head relieving himself on Reynolds' garden fence. The title track adds a certain pensive mood to proceedings, as downtrodden melodic elements duke it out with the relentless jackhammer sounds of percussion before a delightful left turn into freeform ivory tinkling. Those craving some swampy organ sounds will be sated by the closing smudged jacker "White Monkey Holding Peach".
Review: With their output gaining ever more praise through the explosion in interest over Legowelt, Creme Organisation are well placed to showcase the more renegade approaches to gritty, analogue dance music. However, it's highly doubtful that anyone would be ready for their celebration of the F-104 Starfighter jet. The artist behind the vehicular geeking is none other than Rude 66, veteran of Bunker Records style acid and tweaked electro funk, a man with a rich experience in contorting synthesisers into creating paranoid ambience and rock solid grooves. As you might expect he's showcasing a slightly different side to his productions this time around, spreading this strain of his psyche across five chilling cuts of restrained techno. If there's one element which characterises this EP, it's the choral pads that dominate each track. The beats and acid lines, for the most part, drop in a polite and measured manner. The sounds themselves are rough and hissing, but neatly side-stepping unnecessary volume. Instead these disembodied wraith vocals ring out haunted melodies, which creates a consistent atmosphere of other-worldliness. The real skill of a musician is in taking one approach and creating five distinct and utterly engrossing tracks from it. Jagdstaffel 66 has more than proved his worth in that department.
Review: The pioneering Italo producer is still prolific in the studio, but he also has a huge back catalogue, as this latest reissue shows. A good deal of the release focuses on trippy synth scapes - "It's Not My Life" and "Dark Side of the Spoon" - or grainy ambience, audible on the various instalments of "Salt Peanuts" and "Air Stack". However, what really makes this collection so valuable are Robotnick's experiments at the edges of the Italo Disco sound. "Mexicana" features a sassy electro shuffle and camp vocals, "Studio 01" is the kind of sewer techno that Unit Moebius went on to make and "Arabesca" sees Robotnick welcome Middle Eastern motifs to his spacey disco sound. It makes for one hell of a journey.