Review: You could hardly say that Joey Anderson's 2014 debut album, After Forever, was overlooked, but it certainly didn't get the coverage it deserved. The New Jersey native is a distinctive talent, and After Forever was full of tracks that took deep house and techno in unique directions. This speedy follow-up EP, also for Dekmantel, is similarly impressive. Opener "1974" is intensely bright, with restless synthesizer arpeggios and dreamy chords riding a heavy-but-subtle, off-kilter groove. "Under Water" is woozier and a little darker, with curious samples twisted into melodious metallic shapes, while "Back Draft" sees Anderson dropping sci-fi sounds over a throbbing, jacking rhythm.
Review: Finally the debut album from Joey Anderson arrives after what seems like forever (if you'll excuse the pun). After Forever demonstrates Anderson's dedication to beat his own path, with plenty of mind bending moments to contend with. Highlights come thick and fast, "Space Colors Ideas" is a wondrous cascade of scatty bass synth and celestial sweeps, whilst the suitably named "Sorcery" melds together palpitating, subliminal kicks, a light dusting of hats, some loping Rhodes and complimentary synth notes. After Forever is destined to remain in the playlists of the more considered selectors for years to come.
Review: New Yorker Anthony Parasole has been responsible for some of the most distinctive techno music of the past five years. Releasing mainly on The Corner, Dutch festival organisers Dekmantel have coaxed him to put out his debut album on their label. Infrared Vision builds gradually and incrementally, like one of Parasole's mesmerising DJ sets. It starst with the murky abstractions of
"Cold Steel" before moving into the deep house of "Murky Waters" and the skeletal drum tracks, "Explode" and "Momentum". The tempo and intensity levels ramp up on the dubby, bleep-heavy title track, while "Bizarre (Part 2)" rave influences are recycled. While "Spell On Me" sees him take a break with an ambient interlude, "The Chant", with its repetitive vocal sample and fat drums, shows that Parasole is most at home on the dance floor.
Review: Steven de Peven is Amsterdamer Awanto 3, a staple of local imprints Rush Hour and Dekmantel since 2010 (not to mention moonlighting as Red Nose District) who presents his new LP Gargamel, This is his second full length since 2014's Opel Mantra. Starting off this great EP is the single "Azrael" which features usual studio partner Darling on this deep nu-disco cut, as does the booming and lo-slung bass exercise "Hooli Goose". Our personal highlights were the spooky, rusty and dusted down jack of "This Is When We Met" (which will really remind you of that notorious villain from the Smurfs that the album is named after) or the deep and minimal electro groove of "Thick" which features another local legend in the form of Klakson's inimitable Dexter. Awanto 3 likes his samples vibrant, his drums wobbly and his synths sweaty as a Detroit summer breeze. The MPC wizard returns!
Review: There's been a fair bit of hype surrounding this second album from Stuart Li under his now familiar Basic Soul Unit guise, and it's not hard to see why. Dropping on Dekmantel some three years on from his Still Music released debut album Motional Response, Under The Same Sky revels in its' instinctively atmospheric and floor-friendly blend of classic Detroit, Chicago and - more surprisingly - British techno influences. As usual, the chords are deep and spacey, the melodies bold and shimmering, and the beats rough and ready. The results are splendid from start to finish, with the early LFO-influenced smasher "Fate In Hand", thunderous "Temptress" and sci-fi brilliance of "We All Want To Believe" amongst the numerous highlights.
Review: Dutchmen Betonkust and Palmbomen II are back on local institution Dekmantel, following up last year's well received Center Parcs LP - which was recorded in the bunker of an abandoned theme park. The retro, grainy and lo-fi qualities that characterise each others work is evident again here on Parallel B EP. This time recorded in a bungalow somewhere in the Dutch countryside, it finds a distinct middle ground between Kal Hugo's lo-fi classic house aesthetics and Swiere Westveen's taste for gritty electro, acid and Italo sounds. It pays fictional homage to a now deceased famous TV star, who instead on working on the screen, took up a new direction in making music.
Review: Jan Schulte aka Bufiman drops his debut album on Dekmantel, and it's a thing of cosmic beauty. There's the odd ball groove of "Galaxy", on "Sara Sara", he tackles electronic boogie with great flair and "Hoolock Rock" is a superb slice of spaced out disco. However, Schulte's project is not just concerned with revisiting existing styles, and he seems to be just as content when teasing out weird and wonderful new hybrids. These are articulated most impressively on the frazzled acid and steely drums of "Blow Your Mind", the dreamy down tempo drums and tropical sounds of "News From The Treetops" and the sludgy electro funk on "Langsam Aber Slowly".
Review: Aside from hosting a pretty spectacular line-up each and every June in the Amsterdam area, Dekmantel also know how to lay down some hard dance tunes and, since their inception, they have been a pillar to the modern house and techno spectrum. This series of releases marks ten years of activity from the Dutch crew, and they certainly know how to celebrate in style - Bufiman's opening "Hymn To The Moonface" is a stunning slice of progressive sci-fi rolling, Betonkust and Palbomen II's number is sleek and tech-minded, while Scotland's Space Dimension Controller rolls through with some spectacularly cinematic electro-tech, and Lena Willikens' appearance is marked by raucous bass tones and sharp-edged beats. BIG.
Review: The ongoing celebration this year of Dekmental's tenth anniversary has already yielded a series of interesting split EPs and the eight instalment is no exception. It starts with Peter Van Hoesen and Donato Dozzy's "Storta". Over a sliding, distended rhythm, the techno duo conjure up cinematic sound scapes. In stark contrast is Matrixxman's "Sexual Frustration", which draws on classic Midwest techno to deliver pneumatic kicks and wild acid tones. Deniro's "Serval" sees another shift in style, but remains in the same geographical space as Matrixxman; combing atmospheric synths with powerful bass tones, it sounds like the lost connection between Patrice Scott and Kenny Larkin. The droning, discordant techno of Talismann's "Aciano" completes the latest Dekmantel celebration.
Review: With a debut LP from Joey Anderson and more Juju & Jordash material on the horizon, 2014 looks like being another interesting year for the Dekmantel label, and they kick off in style with a label debut for Mark Du Mosch. For those who don't know, Du Mosch is a regular contributor to a like-minded enclave of labels, racking up excellent 12"s for Lunar Disko, Tabernacle, Cyber Dance and Dutch labels Field, SD and Moustache Records. Having added some heritage to the fledgling Amsterdam operation Tape last year, Du Mosch adds a more established capital-based outlet to his discography with the Bay 25 EP. Contained within are two snapshots of Du Mosch's production palette with the rough and rugged Rotterdam squat techno of the title track complemented by the deeper burn of "Living It Up". An added bonus comes in the form of Du Mosch's Moustache Techno pal Gesloten Cirkel who also makes his Dekmantel bow with a typically haywire modification of "Bay 25".
Review: Recently, Esa Williams has done a good job in stepping out of the shadow of regular Auntie Flo collaborator Brian D'Souza. Here he furthers his solo career via a fine EP on much-loved Dutch imprint Dekmantel. He begins with the deliciously angular and fuzzy "Blast", a joint production with Notch Beats that wraps Pendo Zawose's exotic, drifting vocals around razy sharp electronic motifs and shuffling, 108 BPM afro-house beats. Kenyan vocalist Abakisimba lends a hand on the warm and fluid East African deep house lusciousness of "Rift Valley", before Williams rounds things off via the house tempo Detroit techno positivity of "Rent-a-Disc".
Review: When Bas Bron agreed to re-release his track "What's A Girl To Do?' on Dekmantel in 2015, he could not have imagined the success and acclaim it would go on to enjoy. Then the Dutch producer faced a fresh dilemma - how to make a suitable follow-up. He seems to have overcome this hurdle with Arava. While the title track's soaring bass and sun-kissed melodies are tailored made for festivals and big rooms, the real Fatima Yamaha sound is audible on the laid-back electro funk of "Piayes Beach Bar And Grill", while another slow-burning classic is audible on the easy-listening electronics of "Romantic Bureaucracy".
Review: The first release in the Dekmantel 10 Year Anniversary releases sees Venetian ambient don Gigi Masin make his debut for the label with the totally sublime and drifting jazz deconstruction heard on "Maja", while Ukrainian wunderkind Vakula keeps on with his recent deviations into techno and other forms of underground electronics on "Fuck The Robot System" which as the name may suggest is quite an electro tinged and futuristic groove full of snappy 808 beats, vocoded vocals and rusty vintage arpeggios. Finally, the man from Frankfurt Roman Flugel works his magic as always on the stripped and minimal deep house journey "Mice On A Stick" which is full of soothing bell textures, dusty drum patterns and dreamy melodies all working together great on this dramatic slow burner.
Review: Joey Anderson isn't a typical New York house producer. Aligned to the recent wave of artists to come from the city more through personal connections than a common sound, his work also has little relationship with the vocal house or disco legacy of the Big Apple. This disconnect is pronounced on Switch, his follow up to his 2014 debut album, also on Dekmantel. From the balmy ambience of the title track through the droning, visceral techno of "Nabta Playa" and "18 Arms" and the organ riffs and slinky minimalism of "Organ To Dust", Anderson's sophomore album takes a trip down some dark alleys to realise his singular vision.
Review: Juju and Jordash are rather good at making albums. Their last full-length excursion, 2012's brilliant Techno Primitivism, was a gloriously maudlin and evocative affair, as influenced by drowsy ambient and experimental electronica as house and techno. While there are some similarly dark tracks lurking in the shadows of third album Clean Cut (see the creepy "Swamp Things"), for the most part it's a pleasingly dancefloor-centric concoction. That's not to say that they've packed it with jolly moments - the tipsy, melodious "Anywhere" and dub disco-meets-deep house wonk-out "SP Shakes" aside - but rather their leftfield blends of house and techno have a more club-friendly feel. The results are, for the most part, extremely good, with the rave-era revivalism of "Whippersnapper" (a kind of darkroom, Detroit-influenced take on T-Coy's "Carino") standing out.
Review: There must be something in the water near Juju & Jordash's studio, because they have never made a bad or even average record. Sis-boom-bah! is their fourth studio album and serves to reinforce how consistent they are. Irrespective of whether they are laying down noodle jazz workouts like the wonderful "Herkie" or off centre house grooves - check the vocal sampling, funk bass of "Rah Rah" - the pair's jams are delivered with effortless brilliance. There are dance floor tracks of sorts included here as well, particularly the lean groove of "Back Tuck Basket Toss" and the dubbed out drums of "Deadman", but like all their best work, this album's strength lies in its sprawling, freeform approach to electronic music.
Review: Israeli duo in Amsterdam Juju & Jordash really are unstoppable at present. When not focusing on solo projects or collaborating with German deep house don Move D as Magic Mountain High, they're up to their usual shenanigans in tandem and this new one for hometown heroes Dekmantel is a fine example of how they excel in what they do. The deep hypnotic house of "Monday Mellow" floats gently above soaring, ethereal pads, a bouncy bassline and soothing bell tones while "Wednesday Something" is more uplifting and and positive; swirling in layers of rich vintage synth flair and rushy arpeggios. "Thursday Heavy" is much harder hitting, but rest assured: it is still deep, with its booming Juno bassline and reverberated drums creating some basic trance induction that works a treat.
Review: Given their frequent habit of charging off in different musical directions, predicting the contents of a new Juju & Jordash record is getting increasingly difficult. Down To The Roach, their latest release for regular home Dekmantel, is typically wide-ranging, variously exploring bouncy fusions of techno futurism and whimsical deep house (the title track and its' accompanying dub), new age-influenced dream house (the bizarrely titled "Bean Bag Motel"), and spiraling, synthesizer-heavy house/electronic disco hybrids (the stargazing goodness of "Lights at Night"). It goes without saying that all four tracks are imaginative, immaculately produced, and hugely enjoyable. Excellent work all round.
Deep Blue Meanies (Robert Hood Sci-Fi mix) - (8:40) 128 BPM
Deep Blue Meanies (Robert Hood Monobox remix) - (8:03) 126 BPM
Review: Dekmantel unleash Detroit legend Robert Hood on Juju and Jordash's "Deep Blue Meanies" from last year's self titled album. The virulent pulse that ran through the track marked "Deep Blue Meanies" as the most impressive moment, and Hood does the track justice with two differing but equally astounding treatments. The Sci Fi Mix is akin to a full on sensory assault, flipping the track into a relentless thumping future techno groove replete with throbbing bass that absorbs brain matter and multi layered percussion that demands to be bounced off cavernous warehouse walls. Then Hood's "Monobox Remix" tones down the percussion to focus on crafting hypnotic patterns of scratched melodies and singular drones atop a minimalist groove. The growing acid tension that characterises the closing stages of this remix make it hard to choose a favourite.
Review: It's rare these days that you have a spare 90 minutes to focus on an album, but Techno Primitivism is one of those albums that makes you want to change your lifestyle accordingly. Everything about this new album from Juju & Jordash breathes class, showcasing a blend of music that's fully representative of the Amsterdam based duo's styles and influences. At 15 tracks deep, the full beauty of Techno Primitivism will undoubtedly reveal itself slowly, the cheeky misnomer of the title hinting at Gal & Jordan's often revealed humour. Opening in grand style with the triple suite of "Stoplight Loosejaw", "Diatoms" and "Backwash", the duo set a hazy, atmospheric tone that remains throughout, with brief machine funk interludes such as "Slow Boat To Haifa" and "Rogue Wave" in between longer improvised explorations. Favourites on this album change with every listen, but you can't deny the potency of tracks such as "Powwow" or the Magic Mountain High referencing "Track David Would Play" or the superbly titled "Dr Strangepork". One of the albums of this year, without doubt!
Review: Dutch party crew/ label Dekmantel has achieved more in the past decade than most labels, and that they are able to call on such a heavyweight line-up for the third installment of their celebratory series is evidence of this fact. The release starts with the steely drums and mournful, rainy day pianos of Levon Vincent's "UK Spring Vibes" - which is a rare contribution from the US artist outside of his Novel Sound label - and continues with the fist-punching acidic sweeps of Legowelt's "Blue Austral Techno". Shifting the focus back to the other side of the Atlantic, Joey Anderson weighs in with the spooky, swirling synths and understated "Opened Gate", while Danish artist Central rounds off the EP with the jazzy abstractions of "Six Five Two".
Review: Makam doesn't let up! The Dutch hero re-appears on homebase Dekmantel where he's surely become a stalwart of the label and their sound. On "Riding High" he gives us a melodic deep house journey full of emotion and equal parts mystery over its glorious five minutes that you'll wish never stopped. Ge serves up something much more atmospheric on the grainy ambience of "Them Sadet", a collage of trippy exotic samples over emotive elements makes this one definitely to remember also.
Review: Dutch producer Makam has largely remained on the fringes of the acceptance his prolific output deserves. Based in The Hague, the producer cut an impressive swathe with his 2009 debut, the Sushitech released New York Hustler, and has been responsible for a steady stream of quality house in the subsequent period - mostly on the Berlin label. (Indeed we are still basking in the delights of Dreams Of Tommorow, a double 12" release on Sushitech that contained some of his finest work to date.) Having contributed to Dekmantel's Fifth Anniversary Series, Makam here graces the Amsterdam label with "What Ya Doin", which essentially picks up where he left off on the aforementioned Sushitech release, betraying his love for the heady times of house music's origins at The Music Box, playing a breathy vocal off against a procession of 909 rim shots. On the flip FunkinEven applies the deranged dynamics of his recent Apron endeavours to the track with typically explosive results.
Review: In terms of current US artists, no one seems to have made as much of an impact in recent times as the the superbly named Charles McCloud Duff has done under his Matrixxman name. Unknown To The Unknown, Spectral Sound and Soo Wavey Records are some of the labels that have put the call out for material from Matrixxman, whose club ready style of house and techno has always been complemented by a clear sense of humour. Matrixxman's superb debut for Dekmantel makes for a perfect start to 2015 for the increasingly influential Dutch label and is hopefully the start of a prosperous working relationship. Opener "Sermons" is loose and jacking, with a decidedly haywire acid line at its core, whilst "Cybernetic Implant" reins in the rhythmic madness in order to let those deep bleeps catch you off guard. If you like rolling vocals a la Hodge's "Amor Fati" do check closer "System Blackout", which is our pick!
Review: While Matrixxman has produced releases for a wide range of labels, it seems that he has a soft spot for Amsterdam imprint-turned- party organisers Dekmantel. It was on this label that Charles McCloud Duff put out the excellent Nubian Metropolis in 2014, and Sector I/Rhythm is just as impressive. While Duff's approach is far more singular on this follow-up, it proves again that he is a skilful interpreter. In this instance, it's the 90s techno of Hawtin, DBX and 7th City. Percussion flies in like hail stones descending on the Hudson waterfront; drums kicks and stomp relentlessly, and each track has the nervous, twitchy analogue energy of mid-90s midwest techno.
Review: Bay Area retrovert Matrixxman has become one of the most in demand producers of techno in the last couple years, due in so small part to some stellar releases on Delft, Spectral Sound and of course Dutch institution Dekmantel who now present the second installment of a triptych series. Following up the first volume Sector I: Rhythm, Sector II: Acid does exactly what it says on the tin: exploring the timeless capability of that little silver Roland box. He joins the dots between hypnotic techno and acid house on "Arrival" or "Rites" just as well as Scandinavian Varg can. Speaking of acid house: it's exactly that in all its vintage charm; it's like '88 all over again on "Bad Acid" or the absolutely explosive "I Am Matrix".
Review: Having previously collaborated under their given names, Massimo Di Lena and Rio Padice launched their MFO project earlier in the year with a single-track salvo on their own Early Sounds Recordings. Here, they deliver the first MFO 12" for Dekmantel, and it's something of a peach. All three tracks effortlessly join the dots between Detroit techno, machine soul and deep house. This manifests itself in the fizzing alien funk of opener "Anti-Social Pain", the melancholic pianos and rolling machine drums of "Slow Run In Our Dreams" and, most impressively, the robust, techno-tempo percussive assault of "Crisis Zone".
Review: Having initially impressed with two fine singles on Lobster Theremin, Jay "Palms Trax" Donaldson joined the growing Dekmantel with 2015's In Gold. Here, he delivers his second EP for the acclaimed Amsterdam imprint. Opener "High Point On Low Ground" is a cheery, life-affirming delight, with layers of glistening, analogue-sounding synthesizer lines riding a rubbery electronic bassline and breezy deep house beats. You'll find nods to Giorgio Moroder, grandiose Italian piano house and spine-tingling Balearica on the notably large "Cloud City", while "Pause" is a punchy electro-meets-acid track with a sunny, melodic twist. He rarely fails, and this is another ear catching three-tracker.
Review: It's been two years since we last heard from Jay Donaldson AKA Palms Trax, so it's little surprise to find that his trademark sound has evolved a little in that time. The three tracks on "To Paradise" have more in common with vintage, left-of-centre 1980s synth-pop than contemporary deep house. As a result, all three cuts ripple with glistening lead lines, colourful chords, lo-fi drum machine rhythms and thickset synth basslines. The pick of the bunch for us is opener "To Paradise", which sounds an instrumental take on the Pet Shop Boys most picturesque tracks mixed with Italo-disco circa 1986. Elsewhere, "Love In Space" is a little deeper and breezier in tone with plenty of chiming melodies, while "Heron" is gloriously poignant, melancholic and life affirming.
Review: Since making his debut a decade ago, Belgian-in-Berlin Peter Van Hoesen has earned a reputation as one of techno's most reliable producers. Perhaps it was that reliability that persuaded Dekmantel to sign him up as the debutant of their new UFO vinyl-only series. There's naturally plenty to get excited about on Quadra, with each of the four tracks hitting the spot. "Cartesian Taiko" sounds like Derrick May reworking Vangelis' Blade Runner soundtrack after a few love pills, while "Duet Dub" is a crustier, more urgent affair, full of pinging electronics and post-industrial sleaze. "P2ME" laces oddball electronic bleeps and stabs over a relentless techno groove, before he breaks up the beats on the trippy-but-dense electro shuffle of "Quadra.
Review: The recruitment of Robert Hood is a sign of Dekmantel's growing stature as a label. The Detroit legend has agreed to release a trio of EPs and an album under the Paradigm Shift banner, a project title designed to reflect the producer's desire to see great change within dance music. This first EP is classic Hood, with A-side "Form" - all effects-laden drums, looped-up textures, hissing cymbals and cacophonous kick-drums - sounding like no-one else. Flipside "Lockers" follows a similar script, though there's a little more house-influenced funk to the relentless beats, while Hood's use of starburst riffs and classic Motor City electronics adds a sense of far-sighted adventure..
Review: Detroit innovator Rob Hood is the latest name to release on Dekmantel. The Dutch label and party organisers have put out work by an impressive array of artists, but persuading the Minimal Nation author is a true masterstroke. Shift, which arrives in time for the festival season, starts with the eerie "Preface" before Hood launches into the abrasive, metallic rhythm of "Idea" and "I Am", a clap-heavy groove whose central riff just keeps on building and building. There are echoes of Hood's minimal past on the loopy "Solid Thought" and the wiry funk of "Nephesh", but Shift captures Hood in big room mode and is the spiritual heir to the locked-on, peak time techno of the Detroit producer's Omega long player.
Review: Hot on the heels of Detroit legend Robert Hood's first EP for Dekmantel, Paradygm Shift, comes this second volume of typically forthright techno cuts. Opener "Master Jack" is hypnotic and heavy, with spacey synth loops and starburst electronics riding a thumping bassline and relentless rhythm track (think fizzing cymbals, snappy drum machine handclaps, colossal kick drums etc). "Magnet" is altogether deeper affair, but no less devastating. Hood is a master at wringing maximum dancefloor effectiveness out of the least number of intertwined elements, and here works wonders with little more than stomping drums, metallic electronics, and some well-placed special effects.
Review: The third and final series in Rob Hood's Paradygm Shift series for Dekmantel sees the Detroit producer in uncompromising form. "Red Machine" is a relentless peak-time number that resounds to frazzled, droning riffs, dramatic filters and tough tribal drums. Its approach is the opposite to Hood?s seminal minimal releases - the arrangement is "maximal" in the way that its spectrum seems densely populated - but there is no doubting its efficacy. On "Transform", Hood takes down the intensity levels a few notches, and lays down a rolling house groove, but its drums are tough-edged and the looped chords lend it a menace that is alien to his Floorplan releases.
Review: Following releases on labels like Kalahari Oyster Cult and collaborations with D.Tiffany over the past year, Roza Terenzi takes a few steps up with this debut on Dekmantel. Eschewing a straight dance floor approach, the Australian artist delivers the teased out, atmospheric soundscapes of "Bricks" and the trippy broken beats of "Freak N Tweak". Even when she puts a greater focus on the dance floor, the sound is still understated and subtle: "3.I.Y." is a breaking electro affair where cosmic undercurrents are mixed with searing bass and "Open M" is a widescreen slice of deep techno, making for an accomplished release.
Review: Dekmantel introduces newcomer Self Egg, the 'reclusive, electro-styled wunderkind from Rotterdam'. The 20 year old is said to have had a modest background working in repairs and that the record was made solely with a computer and microphone. With these hard boiled and offbeat electro jams, the young Dutchman will sure bear comparisons to electro greats such as Dopplereffekt or Drexciya, but certainly with his own personal touch. Opening track "Cold" is a catchy and soulful number led by some smooth R&B styled vocals. The neon-lit groove of "Blind" was a result of having met with fellow Dutch electronic-jazz producer Jameszoo and it sounds like a tribute to Gerald Donald's Japanese Telecom project. Finally, electro meets prog-rock on the jagged and off kilter jam "Dose".
Review: For the fourth part of the Dekmantel anniversary series, Skudge and San Proper go head to head with two varying levels of dark techno business. Skudge are in fine form, delivering one of their subtly melodic tracks that work around one repeated and tweaked refrain. San Proper spices things up nicely on his "Rattle (Station 2 Station)", as a grinding, industrial beat mixes with dense vocals, synths, speech samples and plenty more. The end result is a perfect example of the kind of steamy, sweaty haze of late night damage that Mr Proper has made his own.
Review: After breaking through in 2013 to a fanfare of applause and reviews thanks to a string of releases on the all encompassing RVNG Intl label, SOS's place within its catalogue presents a foundry of synthy analogue jams. With a penchant for huge vamps and startling crescendos, Dutch powerhouse Dekmantel welcome SOS back to the mainstage, lifting off with the massive "Lost Codes" - a track impersonating what a launch into trans dimensional hyperspace might sound like. Descending further into the cosmos with "Night Alone", it brings with it a small capsule of 80s-sounding New York club and pop influences. Deeper house sentimentalities find their way into the skipping rhythms of "Wild Palms", with "White Echoes" throwing down a gauntlet of acidic bass stabs and pitch-shifting rhodes for a bouncing session of warehouse blues.
Review: Turin-based duo Stump Valley are no strangers to Dekmantel, having played at their renowned yearly festival in Amsterdam, in addition to the Selectors and Lente Kabinet events. Releasing across a whole spectrum of lauded Dutch labels, their material has been heard on Dopeness Galore and Off Minor Recordings. "Natural Race" features Berlin's Wayne Snow on vocals and is a smooth and sensual expression in late night deepness reminiscent of legends Virgo Four, the neon-lit imaginary score of "Marimbamba Isle De Joie" is something you could imagine Axel Foley cruising around L.A. to, while on the darker side of the spectrum there's the moody and slow burning grit of "Proletarians In Space" or the trippy and hypnotic power of "Ritmo Atomico".
Review: A decade ago, the Dekmantel crew threw their first party in the Dutch capital; two years later the record label followed. For their decennial anniversary, Dekmantel Records are releasing 10 very special EPs over the course of 2017. The fourth release in their celebratory series is a collection of new material from some of the label's favourite artists. This fourth edition brings together their love of electro and wave influenced grooves by the likes of Los Angeles electro legend The Egyptian Lover, who serves up the aptly titled "This That Old School" which proves to all the bandwagon jumping wannabes what 'real' electro is. Staying on that retro flavoured tip are the Antinote affiliated Syracuse & Epsilove doing some acid infused analogue jack by way of pop on "Scubatomic Love". Finally, they look locally with the Red Light Radio affiliated/Rush Hour 'analogue adventurist' Interstellar Funk: who pursues some retro/balearic vibes on the sublime "EFX Harmonix"
Review: This is Amsterdam scene stalwart Tom Trago's fourth album, coming five years after The Light Fantastic. Trago set up a new studio at his family home, in the coastal town of Bergen in the northern Netherlands. The album was made with the purpose of creating a global sound, along with the music that has influenced him throughout his life in a new yet natural environment. That is evident throughout the album, because it's a rather diverse affair which demonstrates his expertise in the studio and the impressive variety in his repertoire. From the chill, blunted urban ode of "Bergen", the classic Detroit electro influence of "Zeeweg" or "Morph" to moments of sultry, late night deepness on the emotive "Faith Belongs To Us" or the (hi-tech) soulful closer "Working Machines" - this sees Trago at the absolute top of his game.
Review: With the renewed attention surrounding industrial and EBM in the last few years (and its influence on techno, again), it's important that someone with credentials gives the new generation a decent history lesson. Fitting that Berghain resident and MDR boss Marcel Dettmann curates a compilation of classics from the sound's heyday: here's someone who actually lived through it. As part of Amsterdam imprint Dekmantel's Selectors Series, these gems from yesteryear should certainly set the record straight and provide solid reference points for new school retroverts. Highlights (and there's many) include: Belgian EBM legends Front 242 with "Don't Crash", Philadelphia industrial underdogs Executive Slacks' "So Mote It Be" and the mandatory Cabs track comes in the form of "Low Cool" (the Marcel Dettmann Edit, no less). It wouldn't be a proper industrial comp without a bit of Wax Trax! would it? Label staples Ministry appear with their 1982 song "Same Old Madness", a period in the band's history that some consider their finest.