1 A.M At A Rave (Josh Wink remix) - (7:40) 133 BPM
Circuit Breaker (Avision remix) - (6:20) 132 BPM
1 A.M At A Rave (AVNU remix) - (4:20) 85 BPM
Review: Following the release of Madben's Troisieme Sens album, key tracks get the remix treatment. Alinka's take on "Addicted" is a chilling, chord-heavy groove, bolstered by acid lines and dubbed out drums. The release includes two takes on "1 A.M At A Rave"; the Josh Wink version resounds to a steely rhythm and a cacophony of tweaked acid tones as the techno legend teases new sounds from his 303. In contrast, the AVNU version is powered by punchy drums and an ebm-style bass. Rounding off the EP is Avision's interpretation of "Circuit Breaker". Rougher and rawer than the other remixes, it sees the Ellum Audio artist marry spiralling chords with tweaked acid lines - with the fusion playing out over visceral kicks.
Review: Ellum Audio presents a powerful dance floor selection on a new sampler curated by label head Maceo Plex. For Part 2, Ibiza-based producer and DJ John Monkman showcases his prowess with "Talking Heads", a sublime blend of futuristic synth and steel-edged drums. 8-Bit Culprit, the techno alias of Faraz Ehsan from India, delivers the electrifying "Refurbished Robots", taking dancers to the heart of an otherworldly dancefloor with its nebulous pads and cosmic flex. The collaborative duo Headwaters from Turkey present the slick tech house number "Eternal Madness", while Danish DJ Christian Nielsen concludes V3 with the dark dance floor punisher, "Liberate", featuring neck-snapping snares and haunting vocals. Already receiving acclaim from Maceo Plex at major events, this compilation promises to be a standout highlight of the summer.
Review: Albums can pose a challenge for electronic music producers. Should they continue to focus on dance floor tracks or does the format provide them with the platform to experiment? On Troisieme Sens, it sounds like Madben has opted to do both with stunning results. Both "Departure" and "Fade In Fade Out" are atmospheric break beat-led arrangements, while "Addicted" sees him layer a soulful vocal over a pulsing groove. The release also sees Madben showcase his dance floor credentials. "1am At The Rave" sounds as its title suggests, a frazzled, psychedelic club tune. "No Fear" is just as effective, with Madben fusing acrid 303 lines and steely percussion. To offset this intensity, the album concludes with the dreamy atmospherics of "I Made A Dream During This Nightmare". It all adds up to a masterful release.
Review: In terms of his sound, Denmark's Christian Nielsen has certainly come a long way from his beginnings. Don't expect the Stateside house grooves he was churning out a few years back, as he's now sonically crafted a fresh strain of techno that means serious business. The Copenhagen-based DJ/producer returns to Ellum with another serving of sturdy techno tracks. It's a main room affair for the most part: there's the wonky acid thump of "Come On", heads-down moments on the dancefloor are catered for on "Drag", while the bass heavy minimal jack of "The Void" heads to the afterhours.
Review: Barcelona-based Egyptian DJ/producer Raxon returns to local imprint Ellum Audio, following up last year's Compute EP (with Blindin) for more of his distinct brand of futuristic main-room techno on "Mantis". It's a minimal and bass-driven journey, featuring robot voices underpinned by clipped rhythm programming and does a great job of building the tension and suspense leading up to the peak time. Equally worthy of the job is second offering "Input Robot", which is a booming electro number that's equally dystopian in aesthetic and optimised for being heard under the strobe lights.
Review: It's great to see Maceo Plex's label supporting new talent, and Borne Aloft is deserving of the spotlight. The title track is a gradual, building affair that revolves around an ominous bass, steel plate percussion and robotic hums and crackles. It makes for a compelling slice of futuristic techno. On "Air Cut", Borne Aloft pursues a similar approach, as fizzing percussive bursts are fused with repetitive tones and a murky bass. "Talk To Me" sees this promising new artist opt for a somewhat different approach, with dubbed out drums supporting stark electronic tones and tripped out synth lines. Rounding off this fine debut for Ellum are the dramatic, tranced out builds of "Ghost Note".
Review: Waltervelt follows 2019's Lunar Operation with another fine release for Maceo Plex's Ellum imprint. The title track resounds to steely kicks drums and moody bass that unfold with understated menace over the course of the arrangement. "The Sideral" sees Waltervelt plot a similarly eerie course, with metallic percussive bursts and a stepping electro rhythm supporting radio signal sequences and evocative synths beamed in from outer space. "Magman Pt2" is more accessible, thanks largely to the pulsating bass at its core. Meanwhile on "Invisible". Waltervelt once again disappears down an electro wormhole - this time his journey is powered by a throbbing bass.
Review: The latest compilation on Maceo Plex's label brings together some names that would not normally share a release. Most notably, it features a rare production from Pete Tong - in collaboration with John Monkman - that follows a decidedly tripped out techno sound. The Radio 1 host features alongside a broad cast of characters, including US industrial pioneer Adam X. Working under the ADMX-71 guise, his "Bound & Broken" is turned into a slinky ebm track by Maetrik. There's also deeper material from Avision, with the rolling atmospherics of "In My Mind", while Citizen Kain is sure to keep listeners guessing with the brooding, pulsating "Charly Charly".
Review: Maceo Plex's Ellum label has showcased some of underground house and techno's most respected names in recent years - and this compilation is no exception. Italian house legend Dino Lenny delivers a wonderfully evocative, bass-heavy cut on "Let Me In", while Fedele from Agents of Time flies solo for the twitchy, electronic groove of "Riot Disco" and Christian Nielsen follows a similar path for "Glitch Itch". Meanwhile, North Lake, who released on the label back in 2017, goes deeper for the dubbed out "Imperial Heights", and Borne Aloft delves into bleep-heavy space techno on the tracky but discordant sounding "Primal Urge".
Review: Hailing from Amsterdam, Melawati Modular is the alter ego of Martijn Ravesloot - an experimental electronic music artist making his debut on Ellum Audio. His single "Daliah" is truly an impressive effort and is one of the most sublime and mind altering IDM tracks we have heard thus far in 2020. The package also features two brilliant remixes: the first is by label head Maceo Plex, whose perspective is a brooding and bittersweet journey into the aether, while mighty Italian duo Tale of Us' version, like always, is an epic exploration in futurist dancefloor drama.
Review: Josh Wink takes inspiration from 90s techno for his latest release. In its original form, the title track resounds to grinding electronic riffs and spiralling acid lines that ride tough, grimy kicks. The presence of a pitch-bent vocal takes the listener back to the sound that Wink explored on his mid-90s banger "Are You There". The label has tasked DJ Seinfeld with remixing the track, and he does a fine job. Deploying a lean, muscular bass, he retains the original's vocal sample, but it sounds less ominous as it is woven in and out of shiny synth lines.
Review: Having released on Noir, Kompakt and Skream's Of Unsound Mind label, Christian Nielsen now debuts on Maceo Plex's Ellum imprint. Straddling a fine line between techno and house throughout, the title track sees a nagging, growling bass and dubbed out drums support a layered vocal sample. It makes for a compelling combination. On "For Myself", Nielsen delivers a rolling, percussive rhythm that's powered by warbling acid and propulsive snare rolls, while "Switch" sees him change tact again: underpinned by a driving percussive groove, it features a searing electronic riff shot through with looped vocal sample. Rounding off this fine club EP is the tough, jacking acid-fried "Pulse".
Review: With seven versions in total, the 2001 Guinness Book of Records ruled Coldcut's 1998 classic "Timber" as holder of Most Music Videos For One Song. With Maceo Plex adding yet another version with this industrial, EBM and peak time house adaptation, the artist reaches Erol Alkan levels of genre-fusing, remix class. Find here a revised and anthemic take on a new age, politically-motivated and trip hopping, cut up classic. Best heard on the forest floor...Timber!
Review: Next up on Maceo Plex's label is a killer release from Brame & Hamo. Known primarily for their work on their own label as well as Eps for Feel My Bicep, the pair bring old-school influences to bear on "It's Time.." The title track revolves around a repetitive male vocal sample and is underpinned by a buzzing bass, coming across like a modern riff on Panash's classic Jack 2 Jack. Ellum has recruited Steffi to rework the track, and she does a fine job; going deeper with swirling synths and irresistible acid lines, she turns it into a esoteric but dance floor-primed gem.
Review: Eric Estornel rose to fame a few years ago, from what seemed like out of nowhere. But unbeknownst to many was churning out sleek electro for a long time before as Mariel Ito. But it was with Maceo Plex that he really found his groove with anthems such as "Your Style" and Sleazy Rider". Fast forward to 2015 he's still at the top of his game as a DJ (check the polls) and as a producer as heard striking out on his own imprint Ellum Audio. It sees him temporarily return to his old ways with a chill electro number that ticks all the boxes; vocoder, soaring analogue strings and warm chunky arpeggiated bassline. If that wasn't enough, he flips the script on us again in the form of right techno banger "Solar Detroit" sounding like something on Oscar Mulero's Pole Group. Nice one!
Review: Lithuania isn't that well known for electronic music, but it's where Mindaugas Lapinskis comes from. Working as Gardens of God, he makes a refreshing sound on Jurassic. Sharing a relatively similar space as Prologue or Italian techno artist P.God, Lapinskis drops the droning "Fiddler", powered by a slap bass and huge snare rolls. The overall effect is disorienting and strangely alluring. On the title track, he veers into a dubby sound characterized by layered textures. Lapinskis remains in this space for the closing track, "Look Son, Dragons Come", which sees him favour an equally understated but more tripped out sound. Clearly, something monstrous is stirring in Lithuania.
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