Review: Hot on the heels of last year's 1987 long player comes this fine follow-up from Benedikt Frey. Fastlane starts off at a slow pace with the introspective breaks of "Habits" before Frey accelerates headlong into the title track's intense, fuzzy techno. "Gasoline" tells a similar story, albeit with break beats underpinning dense sound textures. However, it's not all intense dance floor tracks. Fastlane also contains enough sonic curve balls to keep even the most impatient listener engaged. These include the low-slung, atmospheric breaks of "Silverblade", tribal techno on "Crank" and the jittery electro beats and wired acid tones of "Trick Shot".
Review: ESP Institute was the platform for Lord Of The Isles' debut long player, In Waves in 2016. Now he returns to the label for this expansive work. "Endless Beyond" and "Isolarian" are majestic, widescreen pieces, while "Light Nights" is a beautifully reflective piece. When he turns his attention to the dance floor, Lord Of The Isles retains this melodic sensibility. There's a gentle, Lone-style sense of psychedelia audible on "Together", while "Quadralogue" is a brittle dub techno track. But despite these dalliances with club structures, Night is mainly concerned with introspection, as the gentle tones of "Otherness" and freeform electronics and spoken words of "Truth" both effortlessly demonstrate.
Review: Having kick started his career internationally through the likes of Blood Music, Boys Noize Records and a now faded electro scene, Hoshina Anniversary has ebbed his way into the catalogues of DJ Lyster's Youth label, London's Alien Jams and ESP Institute. Jomon presents the artist with a sixth album and third release for Love Fingers' label, and it presents a unique blend of downbeat electronics and industrial jazz to acid techno tracks, harder edged breakbeats and avant pop that all feature Hoshina Anniversary's inherent exotic touch. And for something straight out of the blocks we recommend the house groove and playful hauntolgies of "Rokumeikan".
Review: 'Skylark' was undoubtedly one of the shimmering highlights on Lord of the Isles' rather good 2016 album, In Waves, so it's great to see it return to stores in re-mastered and remixed form. This time round, the superb original - a spacey and emotive affair that sees the Scottish artist wrap a kick-heavy drum machine beat in star-fall synthesizer motifs and elongated early morning chords - comes accompanied by some fresh remixes. His old pal Linkwood steals the show with an epic, ultra-deep version that sounds like ambient techno fused with broken beat, while Tourist Kid provides a similarly impressive experimental ambient take. Bonus cut 'OmniMulti', a house tempo exercise in melancholic Motor City futurism, is also rather good.
Review: Daniel Koehler follows up last year's Melencolia V release on ESP Institute with this bubbling, diverse affair. On "Light Magic", Koehler drops a shuffling rhythm that is underpinned by repetitive vocal samples and buzzing electronic riffs. It sounds like a slightly more accessible version of what he releases on labels like Skudge and Diagonal. In contrast, "The Grand Illusion" comes across as being more introspective. Revolving around languid break beats, its guitar squalls are mixed with looped chords that give the arrangement some extra impetus and ensure that it will work both as a warm up track or peak time selection.
Review: Under the now familiar TCB alias, Christian Beisswenger has spent the best part of a decade offering up distinctive mutations of deeo house, techno and tech-house for labels including Live At Robert Johnson, Tasteful Nudes, Die Orakel and House Is OK. "Prima Astrology" sees him tackle the mini-album format for the first time via an outing on ESP Institute that's arguably aimed more towards home listening than any of his previous work. Of course, there are a number of club-ready cuts on show, but like the album's more downtempo offerings they're deep, spacey, cleverly composed and often shot through with references to dub-house and dub techno (see "Wet FX" and "Once Past Twenty" for starters). It's a good blend that makes for suitably drowsy and enjoyable listening, with highlights including the eccentric, off-kilter opener "Spooks", the deep digi-dub of "Help For People" and the blue-tinged early morning warmth of "Prima Astrology".
Review: Emerging last year to rework Benedikt Frey's "Private Crimes" on ESP Institute, Dalo aka Nadia D'Al? now delivers her debut EP for the label. The title track is a tight, jacking affair, led by a pulsating acid line and featuring a doomy vocal accompaniment. On "Myth", she veers towards a more industrial sound, with bleak synths unravelling over a primal pulse. That sound is further teased out on "Cnt", where Dalo delivers shrieking vocals over a dark, dense rhythm, chiming bells and a visceral, building bass. Rounding off the release is "Agenda", where a heads-down, pulsating ebm-style groove prevails.
Review: Back in 2006, Andrew Hogge AKA Lovefingers launched a simple blog in which he offered up one "Fingertrack" a day. To celebrate the tenth birthday of his fine ESP Institute label Hogge has decided to release a series of compilations containing some of the gems he originally shared online. There's naturally tons of fantastic little-known fare to be found on this first collection, which encompasses spaced-out psychedelic style dream pop, groovy disco-rock, thrusting new wave club rockers, throbbing Euro-disco and unashamedly odd but brilliant Balearic fare. Highlights are plentiful but we'd suggest checking Lovefingers' remix of D.E's exoctic and hypnotic "Full Moon", the horizontal art-rock wooziness of Electronic System's "Skylab", the new age bliss of Florian Poser's "Winds" and the throbbing sleaziness of Data's "Data Plata".
Review: Bartellow aka Benedikt Brachtel returns to ESP Institute with remixes of tracks from his 2017 album, Panokorama. First up is Florian Kupfer from L.I.E.S, who turns "Sala Sensei" into a teased out lo-fi jam, with cavernous filters cascading into epic drops. Gilb'r from Versatile also opts for a dubbed out take on the same track, but it has a softer, more shimmering approach as a dub groove chugs away in the background. Given their reputation for making lean, linear club techno, it comes as no surprise that Skudge's take on "Clypp" is an expertly streamlined, tracky affair, but this is a largely out-there remix package, as evidenced by Ground's warbling, sub-aquatic take on "Clypp".
Review: It looks like 2019 is going to be Tobar's year. Having dropped his vivid, expansive Continuidad album for ESP Institute, he now returns to the label with more heat. "Recife", which featured on the long player, is presented in 'Bailemix' format, making it a searing, sensuous groove that resounds to steely drums and a searing, low-slung bass. It's a mesmerising, hypnotic track, one that is sure to get played at festivals this summer. On the flip, the Chilean artist drops a new arrangement. "Cuatro Meses De Verano" is a slower, more complex groove, featuring epic, Italo-style synths and the murkiest bass tones this side of Nation's catalogue.
Review: Ricardo Tobar takes the listener to electronic music's outer limits on his latest artist album. Like the aesthetic of that other great producer of Chilean origin, Ricardo Villablobos, Continuidad is a sprawling, vivid affair. It moves from the gritty guitar sounds of "Les Vagues" and "Totem" into the jangling percussive rhythm of "Recife", before edging back into abstraction with dirge-like arrangements such as "Purple Sun, Rising" and "Vestigios". Tobar even touches on psychedelic textures on tracks like "First" - whose detuned guitars and tripped out nuances sound like early Pink Floyd getting it on with Spacemen 3 - but eventually makes his way back to the dance floor with the expansive groove of "Birds". Continuidad is a journey in the truest, most cosmic sense.
Review: Canadian producer Nathan Micay follows up releases on Whities, 17 Steps and several editions of his own Schvitz Edits series with this energetic pair of tracks for Los Angeles based ESP institute. The Berlin by way of Toronto artist (formerly known as Bwana) further explores aesthetics of '90s trance music on the hypnotic and elevating acid express that is "Never Rhythm Game" followed by a deep, moody and introspective electro number in the form of "Team Player".
Review: This is Autre's debut release on ESP Institute, but he fits right in with the label's aesthetic. As the title track demonstrates, this emerging producer shares the same love as Loverfingers' label for freeform dance music. 303 lines spiral gently and atmospheric chords ebb and flow majestically over an off beat groove that sits somewhere between deep house and electro. It's a heady affair, with cosmic keys introduced to make it all the more intoxicating. "Frigo" is just as distinctive: over cowbells and snappy beats, an electronic salsa rhythm unravels, containing enough soul to keep even the most demanding DJ happy.
Review: Second Stimulus is Toby Tobias' second outing on Lovefingers' label, and goes a long way to explain why the UK producer is so revered. The title track is a cosmic affair, with mysterious melodies, tripped out synth sweeps and extra helpings of reverb all unfolding over tight drum breaks. Tobias opts for a different approach on "Synchro Surfer": focusing on the dance floor from the get-go, he delivers a linear rhythm that will be well received by DJs. However, he then proceeds to daub it in bleeps, sirens and the kind of warm and woozy chords that have become his signature.
Review: Swiss DJ and producer Ripperton has undergone a significant shift of gears since his early productions for the like of Dessous and Tamed Musiq, among others. While he was very uch on the tech-sided end of the spectrum, he has been scouted by the UK?s excellent ESP Institute, to which he has provided his fourth studio LP, Sight Seeing. Much in line with the existing syle of the imprint, the album is a wondrous voyage of deep-minded electronics, often veering towards the beatless space - the sonic ether, if you will. These fifteen euphoric progressions are nothing but good vibes, and their differentiation resides in an almost total negligence of beats and more traditional experimental tactics. In fact, this is more experiential than anything else, diving you head-first into a mesmerizing whirlpool of hollow drones, propelled by rich landscapes of colourful sounds, with a nod to the new age perspective. Hats off, Mr Ripperton!
Review: Chilean producer Ricardo Tobar has released music on far more labels than most, building up an impressive discography that includes outings on such lauded imprints as Border Community, Traum Schallplatten, Cocoon and, most recently, Correspondant. Here he adds another fine label to his bulging CV via a four-track missive on Lovefingers' ESP Institute. There's much to admire throughout, from the jangling South American instrumentation, Balearic atmosphere and loose house grooves of opener "La Dormida", to the sleazy synth bass, quietly forboding synthesizer lines and restless cowbells of standout "Liturgia". The fun doesn't stop there, though: both "The Lake" - a skewed trip into psychedelic leftfield house territory - and weirdo closer "Star Alliance" are superb.
Review: Darmstadt's Benedikt Frey has been one of the most exciting talents in electronic music in the last few years. With releases on local institution Live At Robert Johnson and Barcelona's Hivern Discs in addition to his experimental project INIT (with Nadia D'Alo) he returns once again to Lovefingers' Los Angeles based imprint. This is the second time after last year's impressive The Lobbyist EP. Be prepared for more cosmic, post-Kraut psychedelia of the greyscale kind from Frey on his first ever full length release. Highlights include the brooding industrial punk-funk of "Controversial", the slow burning hypnotic techno epic "H For Hysteria" or the Can styled progressive rock of "Keygrind" which really shows off the diversity. Add to that the the woozy acid tribalism of "Push" or "Patcher" which are perfect for setting the mood early at Offenbach's favourite clubs.
Review: Since making his debut way back in 2005, Toby Tobias has released material on some seriously good labels. Here he adds another fine label to his CV via a first appearance on Lovefingers' ESP Institute. Both tracks here are genuine epics, weighing in at well over ten minutes apiece. Opener "Gravitator" is an atmospheric chunk of woozy, mind altering late night deep house, where fluttering melody lines, drowsy chords, dubbed-out vocal samples and bubbly bass wrap themselves around a relentless groove. "Right Turn To Nowhere" is a little bolder and sleazier, featuring as it does trippy acid lines, hardcore-inspired flourishes, saucer-eyed, held-note chords and layered drum machine percussion. Both tracks are amongst the South Londoner's best productions to date, and that's saying something.
Review: In Waves is the debut album from Lord of the Isles aka Scottish producer Neil McDonald. As expansive as a boat ride through a rain-swept Highlands loch, it starts with the wispy, ethereal ambience of "Airgoid Meall" and "Years Away". The playful, stop-start rhythm of "Liobasta" provides a kooky interlude to the generally deep mood, before "Obar Liobhaite" plunges back in with floaty, serene ambience. That reflective sensibility is again temporarily pierced by the acrid, spiky rhythm of recent single "Weh-In", but in the main, this is a reflective work, best characterised by the neo-classical piano composition, "Gualainn".
Review: Damien Lynch has been busy of late, serving up a superb slab of electro-influenced experiments for Lunar Disko under the Diamond Dagger alias. Here he returns to ESP Institute under his given name, serving up the follow-up to his critically acclaimed debut 12", The Heights. Opener "Brunette" is a deep and softly spun techno shuffler, with quietly spacey stabs, swooshing pads and stoned electric piano motifs enhancing the hypnotic, late night mood. "Forced Relax" is equally baked, but noticeably slower. It, too, sounds like a yearning, early morning transmission from some far-off planet, beamed down by a sleep-deprived astronaut pining for a comfy bed back on Earth.
Review: Japanese newcomer Powder debuted in impressive fashion with the Spray 12" issued through Sling & Samo's Born Free label earlier this year consisting of diverse yet equally trippy dancefloor tools. We were not the only ones impressed, as Andrew Hogge has got his Lovefingers on some fresh Powder produce for the latest ESP Institute release, the five track Highly. Again it's Powder's diversity and her knack for blending the functional with the trippy that really impresses here with opener "Lost Of Light" setting the tone. Glassy textures slip over the taut, minimal groove, with vocal effects drenched in all manner of delay - a most humid and intoxicating production. Tempos vary as the EP progresses, from the slow burning throb of "Manhole" to the cooing house delights of "Humid Wind", yet Powder's qualities remain undimmed throughout. The two briefer cuts that close out the record are quite delightful productions that seem perfectly tailored to opening and ending a mix.
Review: Amsterdam-based graphic designer turned producer Young Marco has previously shown hints of greatness, most notably with a pair of superb 12" singles on ESP Institute that layered picturesque melodies atop huggable analogue grooves. Here, he delivers his debut album, Biology, and it's every bit as warm, imaginative and luscious as his previous work. Each of the album's seven tracks is something of a gem, from the crystalline, new age house of "Sea World" and Vangelis Katsoulis-inspired ambience of "Out of Wind", to the Italo-influenced dancefloor pulse of "Suzaku" and rush-inducing, synth-heavy brightness of "Can You Really Feel It". It's one of those albums that will brighten up even the dreariest of days, and those sets are arguably few and far between.
Review: Pharoahs have already graced 100% Silk with their brand of disco-inspired synth jams, but these three tracks are infinitely more accomplished. "Ahumbo" combines subtle Afrobeat influences with thick, lustrous bass and the kind of spacious guitar licks that would make Talking Heads jealous, while the dubby feel and atonal percussion of "Island Time" recall Ital's brilliant track "Queens". Finally, the "If It Ever Feels Right" goes in as hard as you could imagine an ESP release going, with thick analogue bass tumbling out of control at 132bpm driven relentlessly forward by a conga-led rhythm, which segues effortlessly into a blissful saxophone breakdown. Unsurprisingly, this is excellent stuff which comes highly recommended.
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