Review: Its been a landmark year for Joey Anderson with a succession of superb 12" releases and V/A appearances for labels such as Latency, Anunnaki Cartel, Syncrophone, Avenue 66 and his own Inimeg recordings all demonstrating the New Jersey-based producer's reputation is well deserved. This release provides as taste of his year to come, as he graces Dekmantel with this excellent 3 track EP ahead of a debut album for the Dutch label planned for some time in 2014. Deep beneath the frazzled, pixelated synth of lead track "Repulsive" there's a haunting quality that informs so much of Anderson's work, yet it still feels immediate enough to be the track that many selectors will gravitate towards. "Sky's Blessing" acts as an introspective wedge between the classic B-Side in the making that is the hypnotically charged "Heaven's Archer".
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: 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: 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: Dekmantel commence their fifth anniversary series with a weighty three-track offering. Awanto3 serves up a roaming 12 minutes of understated groove for the slow blend, employing a moody key line and punchy disco beat to ride out in a haze of warm-up bliss. Makam is a little more in yer face, taking a classic funk sound base to create a masterclass in feeling good without trying too hard. Lone brings his own inimitable style to bear on "Risttowe", full of electronica synth warbles and jacking beats yet still ploughing the same delirious, dreamy furrow that so much Dekmantel output manages to wind up in.
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: The work of Dutch producers Betonkust and Palmbomen II, Center Parcs was recorded in an ageing holiday park, from whence its name is derived. Like the slowly decaying surroundings that became the pair's de facto studio, there is a degraded sensibility throughout Parcs. It starts with the dreamy, frazzled "24 x 33" and "Smerig Eiland" and continues on the easy listening "De rust die Je Zocht". There is also a slightly more sinister edge to the album, audible on the pair's exploration of raw techno on "Renaat Egypte" as well as the warped acid of "Skytronic Cola". But overall, a longing for better times and the faded glory of their surroundings win through, audible on the serene "Troostprijs" and the blissed out "Nintendo Pantera".
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: Salon Des Amateurs' Bufiman makes his Dekmantel debut with two left-of-centre, broken beat mind-melters. "Peace Moves" is a lo-fi, almost sludgy dive into a synth swamp where flurries of cosmic synth licks swoon and tease above your heard. "Graffiti Moves" takes an even trippier twist over a similarly low-and-slow drum arrangement but with added sparkling percussion. Throw in two cutlass-sharp versions of and you've got yourself a watertight declaration of peace. Absurdly on-point as always from Dekmantel.
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: When it comes to celebrating their tenth year in business, no one could accuse Dekmantel of doing it in half measures. For this, the fifth instalment of their 10 Years series, they have recruited well-known faces alongside some surprise appearances. German dub producer Burnt Friedman delivers "Monsun", a high-paced, heavily filtered workout that cruises along at break neck speed. By contrast, "Edge Of", from Detroit producer Ectomorph, is a model of restraint, following a dubby groove that ebbs and flows to the sound of spaced out textures and a lurching bass. Dekmantel regulars Juju & Jordash drop the uptempo, jazzed out house of "Neon Swing", while helping to blow out the birthday candles is Fatima Yamaha, with the sultry keys and synths of "Platforms (Empty Version)".
Review: Call Super first met the Dekmantel crew last year, one of many high profile DJs to play their summer festival in Amsterdam and it wasn't long before the esteemed Dutch imprint asked him to supply them with an EP. Impressively, Nervous Sex Traffic is one of his strongest 12" singles to date - no mean feat given his track record - with the title track, in particular, delivering thrills in spades. Stretching out over nine mesmerizing minutes, it overlays snappy, analogue-sounding beats and cowbell hits with alien bleep melodies, synthesized horn stabs, rich bass, and pads that recall Pet Shop Boys' "West End Girls". It's a melodious, eyes-closed treat, all told. "Mount Grace" sees a deeper, more metallic affair that draws inspiration from vintage Detroit techno, blissful electro, and the morning-after confusion of ambient house.
Review: This release is the second in a series of ten records that Dutch label and festival promoters extraordinaire Dekmantel has planned for 2017 to celebrate its first decade in business. Call Super's "Fluenka Spoke" is an understated affair; over a stripped back, clicky groove, the UK producer adds in whirrs and ticks, birdsong and tropical effects. It makes for a heady affair. On the flipside, Dekmantel have tapped Shanti Celeste and her contribution, "Hinoki", doesn't disappoint. Over a rolling, rickety rhythm, she adds in beautiful, billowing chords and breathy vocal samples - an intoxicating vision of Detroit techno, routed through Bristol and interpreted in great style.
Review: Renowned alias collector Natal Zaks has largely impressed since transferring to Dekmantel last year via the two-part Political Dance release. "Pillow Peace", his return to the esteemed Dutch imprint, is something of a fluttering, sun-kissed summer treat. While the beats are typically solid and the bassline warm and heavy, it's the melodious musical elements he layers on top - think sparkling synth lines, lilting new age motifs and tactile chords - that really catch the ear. Fittingly, those undulating, synthesizer heavy, new age influences are explored further on the flip, where Zaks joins forces with Young Marco as Andet to deliver a blissful, head-in-the-clouds interpretation.
Review: Man of many pseudonyms Natal Zaks brings his Central project to Dekmantel, with the first of a series of EPs entitled Political Dance. It's an expansive affair, with the Danish producer delivering a quintet of tracks that meld distinctive Detroit techno, early US deep house, broken beat and deep space ambient influences into attractive new shapes. Highlights abound, from the rolling, loved-up grooves of the starry "Keep Love On Me", and Motor City deep house shuffle of "Body Issue", to the horizontal bliss of "Longest Way Between Two Points", and tech-jazz swing of standout "This Is Hand". Impressive stuff, all told.