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: 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: 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: 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: 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: 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: 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 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 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: It's been five years since the launch of Amsterdam's Dekmantel parties, and three since the label sprang into life. To celebrate, they're putting out three Anniversary Series singles featuring tracks from roster artists and likeminded friends. This second instalment in the series features a track apiece from Hundred20 and Hunee. The latter is in fine form, delivering an off-kilter analogue deep house jam that harks back to the glory days of Mr Fingers and Virgo Four. Hundred20's bizarrely titled "The Whale Mink Congregation" also has a touch of the Larry Heard about it, offering a heady mix of deep chords, clattering 808 percussion and languid melodies.
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: 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: 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: 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: 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: 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: Stefano "Ksoul" Boati and Paolo "MuteOscillator" Giangrasso join the Dekmantel fray having previously issued their brand of dusty, degraded house - a severely neglected Marcellus Pittman perhaps - through Aroy Dee's MOS Recordings, Azuri and their own Kinda Soul Recordings. Their style remains very much in evidence on the three track Soul Hell EP, with the title track standing out thanks to its wonderfully insouciant blend of tough kick drums, molten synth lines and playful key patterns that demonstrate Boati and Giangrosso's musicality. "Stinger" meanwhile is a deeper excursion characterized by its bassline squelch and subdued Detroit chords, while "Detrance" sees them indulge their experimental side, with a combination of stumbling beats and loose electronic textures that recalls the similarly abstracted house of labelmates Juju & Jordash. More essential wares from Dekmantel...
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: 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: 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: 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: 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: Isabelle Maitre aka Epsilove follows her 2017 debut on Dekmantel with this weird and wonderful EP. "Time Is The Longest Distance" is a mid-tempo affair that warbles to the sound of cosmic synths, hushed vocals and slow, dubbed out drums. It makes for a wonderfully woozy piece. On "Sea Snakes", Maitre picks up the pace to deliver a rickety electro track that resounds to stop-start drums and deep acid lines. Dekmantel has also commissioned remixes of this singular artist; Ali Bobo & Shelter turn "Time..." into a teased out groove, while on their version of "Sea Snakes", HAJJ & Lastrack deliver a glitchy, stripped back techno stepper, replete with cosmic keys.
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: 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: 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: 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".
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: 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: Dutch Dance dominators Dekmantel have collaborated with high street fashion brand Patta on the impressive Dkmntl X Patta series (featuring the likes of Tom Trago and Fatima Yamaha). The eighth instalment features work by Baltimore music legend GE-OLOGY. Known for his success in the 90s hip-hop world, this guy is also a seasoned house producer too. Here we get "Dance In Retrograde", a charming hybrid of light and fluffy 2nd wave Chicago house, Ron Trent style Detroit rhythms and retro boogie. We also have "Re-Fingered With Love" which is a warm and luxuriant deep jam that comes across like a Latin disco take on Good Life.
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: 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: 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: 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: 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: 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: 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: 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: 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: 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: 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".