Review: Following on from last year's Inferno collaboration, Filth On Acid owner Reinier Zonneveld again teams up with Christopher Coe and Carl Cox. On the 'Filth' version of the title track, an ominous bass rolls in, accompanied by acid spirals that build powerfully before a vocal sample announces, 'this is our moment, our time'. The 'Pure' version is less visceral, and is realised against the backdrop of atmospheric synths and lithe break beats. The 'Awesome' version sees the trio head back to the dance floor; after a reflective intro, the synths give way to a pummelling rhythm track and surging chord builds. This release certainly lives up to the claim that its title makes.
Review: Dusty Kid makes his debut on Filth On Acid, in the process joining other 303-loving producers as Emmanuel Top and Bart Skils. Opening track "The Woodpecker" is a wild ride through hardcore riffs, rolling break beats and some of the most visceral acid sounds this side of Woody McBride.
By contrast, on "Crunch" the Italian producer opts for a straighter approach - on this occasion, the acid lines spew and splatter their way over a purring bass and firing snares. The end result is like a modern take on Richie Hawtin's take on System 7's "Alphawave". "Flight of the Bumble Bee" is just as intense, but the only difference is that the maverick Italian producer pushes the frequencies higher and higher, recreating a cacophony of insect noises as a rhythm track and murky bass hammer away.
Review: Last year, French techno royalty Emmanuel Top proved that he's certainly still got it - with his monster underground hit "This Is Cocaine". Here's a proper, heads down warehouse techno stomper on the tunnelling tip. It featured all the hallmarks of his sound - such as sweeping TB-303 basslines and punchy TR-909 kicks, complete with that infamously druggy 'Cocaine!' vocal loop. The Dutch imprint responsible (Filth On Acid) deemed it worthy of a bunch of remixes by current scene favourites - and we were undoubtedly impressed by their efforts. Argentinian Shall Ocin delivers a glitchy and slow-burning rendition that works the moody aspects of the track real well. Regal from Madrid's furious version blows the doors off at 130 BPM, while Balthazar & JackRock take you back to the glory days of Detroit's Packard Plant on their old-school techno tribute.
Review: Klangkuenstler aka Michael Korb follows last year's releases for Filth On Acid with this slamming affair. "Lebendige Geister" follows the classic German techno-trance sound of the mid-90s, with pummelling techno drums supporting a haunting, epic synth melody. Streamlined but seductive, it's the kind of track you could imagine Sven Vath spinning back in the day. On "Acid Hotline", Korb goes for a similar approach, but this time his peak-time track is accompanied by a soaring acid line. He maintains the same intensity levels on "Teufels Schneide", but here grinding riffs accompany spiralling, Heckmann-like builds to the inevitable climax.
Review: The latest release on Reinier Zonneveld's label comes from Metodi Hristov, who impressed recently with the Awaken EP. Mover is of a similarly high standard. The title track snakes and pulsates seductively, its throbbing groove underpinned by eerie synths and a series of understated but effective builds. "Insane" sees the Bulgarian artist map out a darker path, thanks to the use of grimy drums, metallic riffs and gurgling acid lines. Rounding off this release, Hristov moves into a tribal techno direction; "Hidden Signals" is harder and more pounding, but the menacing synth line and acidic squelches mean it stands head and shoulders above standard club tracks.
Review: Filth On Acid is Reinier Zonneveld's new label and he launches it in style with a series of collaborations with his peers. First up is "Cold Conquest", a pulsing, ominous track. Produced with Oliver Koletzki, the dark synth clouds that hover over the acid backing track are the polar opposite of euphoric trance. Moving towards techno, Secret Cinema's "Kickstreem" production with Zonneveld centres on a heavy, prowling bass with echoes of Positive Education. "Got Me', penned with Gabriel Ananda, is a blissed out psychedelic techno groove, while the release ends with "Kapot". Written in association with Matt Sassari, it brings a brash, buzzing end to this impressive debut release.