Review: Originally released in 2015, Young Marco's "The Best I Could Do" shows that he is as adept in the studio as he is behind the decks. The renowned crate digger draws on his knowledge of underground house and techno for this understated, melancholic affair. Sad synths swirl up over a raw, resonating bass and the end result has a decidedly wintry feeling. House veteran Tom Trago drops a similar sounding track, "Brutal Romance (TT's Love Fix)". However, on this occasion, the groove is upbeat and the riffs are more insistent, but the same frazzled approach to production prevails. Keeping it atmospheric, Fatima Yamaha delivers the slow tempo, synth-heavy "The Creature From Culture Creation", which also featured on the original 2015 release.
Review: Ten years and still going strong, Amsterdam's Dekmantel are celebrating with their 10 EP series throughout 2017. Having kicked off in in March, with one EP being released every month, the series will touch upon every musical fragment that has come to define their events and festivals over the decade. On this edition, we have local hero Young Marco up first with the bouncy and summery house shenanigans of "Palace Green Beans", them American in Amsterdam Diego herrera aka Suzanne Kraft with his emotive effort "Moving". It wouldn't be an Amsterdam joint without a bit of Tom Trago right? The Voyage Direct head honcho steps in with the retro futuristic deepness of "Digital Love" until Awanto 3 brings it on home classic house style with "Pepe Mujica".
Review: The seventh instalment of Dekmantel's tenth anniversary celebration puts some newcomers side by side with more established artists. Covering the middle ground between these two extremes is Voiski, whose "Time As A River" features jittery drums married with dense bleeps and a melancholic synth segue. Randomer is in the same position, inhabiting the middle ground between the veterans and the brand new. The UK producer's "Foghorn" does exactly what it says on the tin, delivering a dense, stepping rhythm that unravels to reveal blaring, drone-like horns. In the newcomer's corner there's Tolouse Low Trax, with the low-slung, oddball house of "Crash", while at the opposite end of the spectrum Versatile founder Gilb'r features with the experimental drones and rain forest sounds of "The Triangle".
Review: Fresh from delivering a typically obtuse set of techno reworks on Russian Torrent Versions, Voiski pops up on Dekmantel with a poignant, and perfectly formed five-tracker for their UFO series. There's something particularly picturesque about the cascading synthesizer melodies and mournful chords of ambient opener "Go To A Mountain & Cry For A Vision", while there's flickering beauty to be found amongst the ragged electronics and hypnotic rhythms of "Happy Piece For Happy People Piece". Voiski flexes his futurist-meets-industrialist muscles on the angular but melodious "Seriously No", before treating us to a dash of metronomic Motor City deepness on "Come Back! Nothing is Forgiven!". Finally, he blends rising and falling synthesizer lines with punchy electro beats on the trippy "Drama In The Futurists Cabinet".
Review: The coming months will see no less than three full length albums from Ukrainian producer par excellence Mikhaylo Vityk, which would be ridiculous for anyone else other than such a prolific artist. The first one arrives with Vityk adopting his recently unveiled Vedomir alias in typically intoxicating style with a self-titled album for the Dekmantel imprint. Veering from meditative moments of beatless analogue ambience to propulsive jacking house and glistening beat down, everything is tied together with Vedomir's undeniable grasp of intricate textural detail. Highly recommended.
Review: Dekmantel return to last year's excellent self titled long player from Mikhaylo Vityk (aka Vakula) under his Vedomir alias for their first of this year, adding Berghain heavyweight Marcel Dettmann to their ever expanding list of high profile remixers. Marcel Dettmann has proved to be quite the versatile remixer over the past few years, reworking everyone from Luke Slater and Skudge, to artists further distanced from straight up techno like Morphosis, Commix, Fever Ray and most recently Trus'me. Here he remixes the rock 'n' roll bass and panning arpeggios of "Musical Suprematism" and the spacey minimalisms of "Dreams". The thick, viscous funk of the latter remix is a notable highlight.
Review: Lena Willikens is not only the first female DJ to curate a compilation for Dekmantel's Selectors series, but also the first to put the emphasis on previously unreleased music rather than dusty-fingered crate-digging gems. That's not to say there aren't excellent older cuts present - see the decidedly psychedelic brilliance of Sandoz's ambient dub earworm "Morning Star (Dubmix)" and the trippy 2001 industrial dub techno of Vromb's "Amalgame" - just that there are a few more previously unheard killers. These include, but aren't limited too, the drowsy broken techno of Jasss's "Little Lines", Parrish Smith's jacking industrial house shuffler "Minima" and the druggy, mind-altering synthesizer soundtrack throb of Borusiade's intoxicating "Night Drive (An Exercise in Indulgence)".
Review: A true staple of the Amsterdam scene, the Rush Hour affiliated Yuri Boselie aka Cinnaman takes up the reins for local institution Dekmantel's extended tenth birthday celebrations with this mastermix. It takes in the entirety of the 10 volume edition - what an effort. What may seem as an outrageous challenge - what with the compilation's genre diversity and wide rage of tempos - it's a success, for they've certainly found the right candidate. Cinnaman plays a wide range of styles anyway, and is never afraid to mix the known with the unknown - he has a reputation for his remarkable combinations and transitions. From moments of sublime ambience (Italian ambient legend Gigi Masin with the utterly evocative "Maja") to bass heavy electro bounce (courtesy of Egyptian Lover or Syracuse & Epsilove), right through to techno bangers of the cerebral variety (by Donato Dozzy & Peter Van Hoesen or local hero Talismann) and stuff by Bufiman or Tony Allen - it's a solid effort here by one of Holland's finest selectors.
Review: If your finances couldn't quite stretch to buying all four releases in the unique Dekmantel x Patta series - in which limited edition vinyl EPs came packaged with exclusive items of clothing - this digital compilation is something of a lifesaver. For starters, the exclusive material - first included on the hard-to-get EPs, and now showcased here - is pretty darn tasty. The various Amsterdam-based producers involved generally hit the spot, from the melodious, analogue-rich Balearic techno of Young Marco's "The Best I Could Do (With What I Had)", and sparkling Detroit retro-futurism of Mark Du Mosch's "2nd 5ystem", to the cosmic deep house shimmer of Tom Trago's "Brutal Romance", and bizarre, off-kilter deep house-jazz of Makam's "The Struggles". Aardvark's quirky rumba-house workout, "Kubaa Rumbaa" is rather good, too.
Review: Djax-Re-Up is an invaluable slice of European techno history. Issued on Dekmantel as an accompaniment to the recent documentary about Djax-Up-Beats, it brings together music from the Dutch label's 90s catalogue. Featuring obscure artists like Ismistik - whose early 90s house track "Flow Chart" still sounds fresh - alongside respected producers like Glenn Underground, with the frenetic techno of "101 Dolmations" and "Real Space' and Felix Da Housecat's throbbing "Freakadelica", it serves as a reminder of the huge range of music that the label released. It also shines a light on the hugely fertile Dutch scene of the time, with Planet Gong's fragile ambience and Terrace's jacking techno-house "916 Buena Avenue (Influenza Mix)" also featuring.
Review: When he was asked to put together the fourth volume in Dekmantel's brilliant Selectors series, Joy Orbison decided to use the opportunity to pay tribute to the rich history of UK dance music. Predictably, his on-point selections join the dots between the past and the present, moving from the London beat poetry of James Messiah and hard-to-find 1991 UK hardcore of R Solution's surprisingly deep and melodious "Skinny Long Git", to the crunchy, mad-as-a-box-of-frogs IDM of JP Buckle's 1998, Rephlex-released oddity "One For Da Laydeez". Along the way, he finds space for the sparkling early D&B of "Lush" by Oblivion (AKA Source Direct), the low-slung, bass-heavy deep house/acid house fusion of L.E Bass and the analogue techyno idealism of Beatrice Dillon.
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.
Review: Its festival operation may have enjoyed its most successful year so far, but Dekmantel remains true to its underground roots on this look back at 2019. There's the off beat disco of Freedom Engine, Mathew Jonson's new project, as well as left of centre curveballs from Lamellen and Epsilove. That said, the Dutch collective also understand what's needed to rock a dance floor. Fittingly, 2019 includes the electronic disco of Jex Opolis "Earth Boy" and Betonkust & Palmbomen II's acrid acid workout "Underground Dance Floor", which both appeared on the label earlier this year- as well as the timeless icy techno classic of Terrace's "Bewitched".
Review: Dekmantel rounds off a hugely successful year with a compilation that reflects the organisation's multi-faceted approach. At one end of the spectrum there's the dubbed out groove and spacey vocals of Peaking Light's "Blind Corner" and tropical act Bruxas' left of centre beats, while at the other end Robert Hood delivers the blistering techno of "Red Machine". In between these extremes, there are Dekmantel-supported artists such as Betonkust & Palmbomen II - impressing here with the Legowelt-esque "Renaat Egypte" - and zeitgeist-defining names like Lena Willikens and Matrixxman. Add in some Dutch scene veterans such as Tom Trago, on fine form with the epic but understated "Working Machines", and it's not hard to see why 2018 was a great year for the Dutch collective.
Review: Cyclicality Between Procyon & Gomeisa is a lofty title by anyone's standards, but firmly in-keeping with the psychedelic influences behind Vakula's distinctive brand of inspired electronic wizardry. It's fair to say that the lauded Ukranian is on fine form on this third studio full-length, serving up 14 trippy tracks that variously fuse heady ambience, dub techno, new age deep house, electronic jazz, dubbed-out blues and, perhaps most surprisingly, cosmic disco (see the excellent "Intergalactic Funk"). As usual, Vakula's production skills and unique vision shine through, giving the album a coherent feel despite his impressive, genre-bending antics.
Review: The celebration of Dekmantel's tenth anniversary draws to a close with a memorable release. Originally released almost twenty years ago, Ricardo Villalobos' interpretations of Tony Allen's "Asiko (In A Silent Mix)" have not lost their lustre. Taking the Afrobeat pioneer's organic drums and uplifting horns down a hollowed out pathway, Villalobos throws in rickety percussion, reverberating effects and warm washes of guitar over a lopsided, lazy rhythm to give Allen's sound a magical, voodoo sensibility. It says a lot about Villalobos' abilities that he can make these free-flowing psychedelic grooves work in his DJ sets - for us mere mortals, hearing this release in its full 29-minute glory is a spiritual experience in itself.
Review: Just a year shy of 20 years old, "Asiko (In A Silent Mix)" from Tony Allen's perennial Black Voices album enjoys a timely revision as part of Dekmantel's 10 year anniversary celebrations. This one comes from Motor City Drum Ensemble who maintains the dubby washes and pure spaciousness of Allen's original while refocussing the drums for more of a deeper dancefloor drive. Not quite as extensive as Villalobos's half hour remix but sometimes is a sweet seven minutes is the perfect punch. Jump on this.
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: 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: Territroy is a collaboration between Panagiotis Melidis, who produces as Larry Gus, and Stathis Kalatzis, who used to work as Mr. Statik. Issued on Dekmantel's UFO spin-off, it's a dubbed out masterpiece. "Delirium Vivens" is a rolling, vocal-sample heavy groove, while "Wax Smiles" sees the pair drop a more abstract piece, with dead-paced drums supporting the swirling voices. On "Sleeping Fury", there's a more dramatic approach with plucked strings prevailing while "Instar" is a deeper affair, pushing the project closer to what could be deemed to be conventional techno. It's only a temporary dalliance however, and "Upside Down Sinner" marks a return to the kind of swirling, psychedelic dub that makes this album so enthralling.
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: 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: 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: 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: 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: 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: 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: 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.
The Blob, Imaginary Trip To A Desolate New York - (4:26) 57 BPM
Do Easy - (5:37) 60 BPM
Review: The film What A World celebrates the continuing partnership between Dekmantel and fashion label Patta, by telling a story about contrasting worlds that come together in a dream-like atmosphere. The visuals are underscored by a slowly building musical piece from the hands of Rimer London. The Dutch producer and DJ behind projects such as Bas Bron and Le Le returns under his original production alias for this Dekmantel debut - with a set of chromatic disco tracks, progressive in texture and full of character. From the glistening synthscapes of "Quantum Internet Alliance", the late night slo-mo disco of "The Blob, Imaginary Trip To A Desolate New York" or the emotive classic house of "Do Easy" awash in celestial FM synthesis aesthetics.
Review: To date, Dekmantel's Anniversary Series of singles has proved to be something of a hit, delivering high quality deep house, acid and techno from such formidable talents as Hunee, Juju & Jordash, Skudge and Lone. Predictably, this fifth instalment is just as impressive as its predecessors, offering wildly contrasting fare from Redshape and Fudge Fingas. While the latter's fluid, loose, jazz-flecked "Light In My Life" impresses greatly, it's Redshape who wins the day. His "Flexx" is unashamedly powerful - a sweaty, percussive roller full of shuffling military drums, stargazing techno melodies, foreboding strings and booming bassline pressure. It's arguably his best for sometime.
Review: The title track on Randomer's first release for Dekmantel is deceptive. Although the rhythm flails and rolls with the UK producer's usual sense of urgency, it is swathed in misty, hazy melodies. There is no such ambiguity on "My Ears Hurt"; earning its place on the label's UFO Series, the arrangement features a rhythm that weaves its way in and out of a myriad of tonal blips and bleeps. In contrast, "Rendell Pips" and "Music for Two Kalimbas" are powerful DJ cuts. In the absence of any unusual sideways turns, Randomer relies on tight drums, rolling rhythms and plunging breakdowns to lead the listener down the wormhole.
Review: Randomer follows his 2016 debut release on this Dekmantel offshoot label with the musically diverse Slicing. Like the stage at the festival that it is named after, it moves through the musical spectrum. "Van Pelt" is a dense, stepping affair, its cavernous rhythm providing the back drop for hypnotic, gamelan percussion and half-heard ethnic samples. By contrast, "Shadow Harp" is a utilitarian slice of break beat techno, shot through with razor sharp riffs, while on "Dissolve", he pivots towards a tough but pulsating rhythm track, underpinned by tribal drums. Rounding off this across the board but dance floor friendly EP is the title track's droning, clattering arrangement, tingling like a live electricity wire.
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: Dekmantel scores a coup by signing US psychedelic pair Peaking Lights. Sea of Sand is a taster for an imminent album on the Dutch label, and it provides an intoxicating taste of what's to come. "Blind Corner" resounds to a throbbing groove, with Indra Dunis' vocals unravelling over the blissed out, textures, while on "Shift Your Mind", they trip the light fantastic with a percussive, bongo-heavy backing. "Hypnotized" sees the pair delver a slower, dubbed out arrangement. Keeping the listener guessing, "I Can Read Your Mind" is a wonderfully hypnotic, spaced out Italo Disco affair and "Noise of Life" sees Peaking Lights delve into dreamy electronic pop.
Review: Parrish Smith is a relatively new addition to the extended techno world, but the producer is undoubtedly one of our favourite recent additions, particularly for his sensibility to the core of EBM and industrial music. His previous EP, out through Ron Morelli's LIES, was one of the best 12"s to come in 2017 (in our humble opinion), so this new EP for Holland's Dekmantel crew is nothing but vibes for us! The title track, "Sex, Suicide & Speed Metal", blasts out heavy bass-kicks amid swarms of washed out guitars and doom metal references, leaving "Mute" to provide some comfort to the bone-heads, thanks to its noxious bass and drum-machine centricity. "Fall Into Sin" is yet more death and destruction, driven by a blasting wave of detuned electronics and metallic percussion, while "Skins" bangs out a dubwise slice of post-industrial nuttiness - large up, Parrish.
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: Los Angeles based Palmbomen II makes an appearance for the next edition in famed Amsterdam festival Dekmantel's collaboration with the fashion label Patta. The Dutch protagonist of lo-fi, synth ambience - hooked on 90s nostalgia and retrofitted synthesisers and drum modules - delves deep into a colourful world of one par acid house, one par abstract electronic score. From the haunting ambience of "Theme" (original version) which creates tension and suspense in an early '80's VHS aesthetic, while the celestial new age soundscape "Study B" explores the wonders of FM synthesis, "Study E" likewise carries a grainy and saturated aesthetic in its elaborate chord progression.
Review: Danny 'Legowelt' Wolfers describes the music he makes under the Occult Orientated Crime alias as "an accumulation of 20 years of musical research and training, and what affect it has on the brain". Read into that what you will; in practice, his OOC output allows Wolfers to explore the more deep and cosmic end of the ambient spectrum, with sly nods towards jazz and movie soundtracks amongst the Motor City synthesizers, buried spoken word vocals and intergalactic chord progressions. The fantastically titled Just A Clown On Crack is the first OOC release to make it to wax, and effortlessly recalls the early '90s glory days of ambient house and intelligent techno, whilst still retaining many of Wolfers' stylistic trademarks.