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: 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: 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: 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: 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: 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: 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: 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: 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: 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.
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: 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: 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: 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: 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: 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: 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: 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: 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: 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 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: 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: 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: 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: 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 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: 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: 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.
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: 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: 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: 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.
Review: Next up on Dekmantel is Jered Phillip aka Jex Opolis with this highly engaging EP. One of the brains behind the Good Timin' label, Phillip's music takes inspiration from 80s boogie, electro and Italo Disco. Those elements all come together seamlessly on the title track, where crashing drums and a pulsating bass provide the basis for irresistible synth melodies. It makes for a vivid, expansive track. Meanwhile, "Desolation" sees Phillip focus his efforts more closely on updating the sounds of late 70s Italy, fusing staccato snares with irresistible melodic flourishes. The vocal version, with its nasal drawl, sees Jex Opolis edge closer to Fred Ventura territory.
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: 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: 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!