Review: There's an evocative undercurrent at play on Ilija Djokovic's latest release for Filth on Acid. You can hear it on the title track, where dreamy, tranced out synths play out over an old school-inspired house groove and a wobbling acid line. "Pollux" is a leaner affair, with the Serbian producer combining a robust, throbbing bass with a warbling 303, while the mood darkens considerably on "202x". Although similarly atmospheric synths play out in the background, the frazzled bass and stomping beats that power the arrangement sound more in keeping with the signature sound that has come to define Filth On Acid.
Review: Teenage Mutants return to Filth On Acid for a third release, with Shadows containing the same high-octane energy as their previous outings. The title track is centred on a pulsating groove and mournful synth hooks, but the track switches quickly into a more menacing proposition courtesy of a succession of snare rolls and growling acid lines. "Just Rave" is more explicit about its intent from the outset, as dark trance riffs are fused with a throbbing bass to create an intense crescendo, while "Backyard Rave" continues in a similar vein, as the German duo conjure up an ominous low end and relentless percussion to create maximum impact.
Review: Hot on the heels of his 2021 release The Game, Mathieu Mourareau aka Space 92 returns to Filth on Acid. The title track resounds to rolling, steely drums and the kind of visceral acid line you'd expect to hear on an Emmanuel Top record. In contrast, "Luna" appears to be more atmospheric, with Mourareau laying down tranced out synths, but these give way to intense snare rolls and a mean, pulsating rhythm. Changing tact again, Space 92 delivers "Cyberspace"; based on a mean, ebm-style rhythm, robotic vocals and dramatic builds ensure that this banger will resonate in the real and virtual worlds.
Review: With releases to his credit on Truesoul and Toolroom, Eli Brown now makes his Filth On Acid debut. The title track is based on a high tempo, pulsating groove; peppered with acid squiggles and familiar sounding 'believe' vocal samples. It makes for a compelling combination. "Avenger" is darker, with an ominous rave chord sequence unravelling in dramatic fashion against the backdrop of a buzzsaw bass and gurgling 303s. Rounding off this exhilarating EP is "Addicted". It sounds like Brown has taken inspiration from the tough loop techno of the early 00s, but has stamped his own mark on it thanks to the use of filtered vocal samples.
Review: Teenage Mutants follow the recent Fortune release on Filth On Acid with another energetic EP for the label. The title track resounds to synth builds and an ominous, menacing bass, with these elements supported by rolling snares and pounding kicks, making for an epic combination. "Paulus" sees the duo follow a similar path, with some gurgling acid lines thrown in for good measure, while on "Evolve", they venture in a more dramatic direction, as a growling bassline provides the basis for sweeping synths. They leave the most dramatic track to last, with "Pandemonium" resounding to intense siren riffs and a series of dramatic snare rolls.
Review: As befits a label with such a raucous back catalogue, the latest release on Filth On Acid is a noisy, heads-down affair. That's not to suggest that Camelphat and Rebūke have decided to follow a formula, and if anything, the opposite is true. The title track is based on an offbeat rhythm, which is augmented by a wild combination of noisy riffs, dreamy vocals and blistering percussion. The EP also includes a rework by label boss Reinier Zonneveld: while not as distinctive as the title track, its rolling drums and series of dramatic, grungy breakdowns is sure to cause mayhem whenever it's dropped.
Review: Celebrating Filth On Acid's one hundredth release is label owner Reinier Zonneveld with a raucous, visceral EP. The title track features dystopian vocal samples playing out over rough bass tones and a niggling acid line. It makes for an intoxicating combination. On "Only One Way", Zonneveld focuses on a hardcore techno approach: led by a driving, warehouse rhythm, tone-shifting vocal loops and layer upon layer of visceral percussion, he ensures that then arrangement will cause maximum impact. Last but not least is "Chord Rave": as its title suggests, it's a riotous affair that resounds to tweaked, noisy riffs and a buzzing, grinding groove.
Review: HI-LO team up with label boss Reinier Zonneveld for a release that diverges from Filth On Acid's signature sound. If anything, the title track has more in common with the soundtrack that plays in Ibiza super clubs than the intricacies of the 303 thanks to its windswept vocals and epic melodies. Despite this artistic pivot, "Balearic Mornings" still sounds fresher than the slew of modern trance tunes. The collaboration also yields "Existencia", where the Filth On Acid owner and HI-LO bring together 303 lines with the kind of billowing synth flourishes one would expect to hear lighting up the Amnesia podiums.
Review: Joyhauser have released a series of Eps for Second State and Terminal M and now make their debut for Filth On Acid. The title track combines a pounding, brutalist rhythm with dramatic builds, like a contemporary take on classic Harthouse tech-trance. "Linkerhoover" sees the Belgian duo draw on 90s trance again, but on this occasion, they combine epic hooks with a relentless, all consuming bass and razor sharp percussive ticks. "Lower East Side" is more techno focused, and resounds to pounding kicks, insistent snare rolls and the kind of raw menace that you's associate with early 90s Frankfurt Trax. "The Woffler" meanwhile sees Joyhauser revisit tech-trance for a peak-time, euphoric banger.
Review: Ramiro Lopez has an impressive back catalogue that includes EPs on esteemed labels like Drumcode, Trapez and Suara. Lopez also numbers Filth On Acid as one of the imprints that release his music, and Over Again follows hot on the heels of Into The Code. The title track has a clear pop influence, with vocodered vocals unfolding over a throbbing rhythm, while on "Larala", Lopez ventures down a more atmospheric path. Featuring dreamy vocal samples combined with eerie synths, he fuses these elements with a pulsating groove to devastating effect. Changing tact once again, Lopez draws inspiration from Thomas Heckmann to drop the visceral, "Bochinche".
Review: Space 92 returns to Reinier Zonneveld's Filth On Acid imprint with a wickedly dark three-tracker. The title track is a pounding tech-trance track, featuring menacing stabs and powered by a relentless groove. It's like a modern verso of Zombie Nation. On "Hydra", Space 92 recycles moody rave riffs, adding them to a pulsating rhythm. It has peak-time Ibiza written all over it. Last but certainly not least, there's "Populate Mars". In trance terms, it sounds like the arrival of the four horsemen of the apocalypse, as Space 92 rains down malevolent stabs and relentless drums to create mayhem.
Review: Label owner Reinier Zonneveld teams up with DYEN and continues on his journey to deliver the wildest acid and rave-fuelled tracks. On the title track the pair combine a vocal intoning 'MDMA' with gurgling acid lines and rave riffs and let this fusion play out over rolling snares. "Blades" is a dark rave workout, with the duo conjuring up an ominous bass and relentless bass drums as the backdrop for relentless hardcore stabs. While "Bonnes" is more restrained, it too is powered by a menacing low end - this time fused with acrid 303s to create a soundtrack for a warehouse party at the end of the universe.
Review: Teenage Mutants aka Kristian Samujlo has released on labels likes Stil Vor Talent and Suara, and now he brings his hybrid sound to Filth On Acid. The title track kick-starts the release with a throbbing groove and pounding kicks that support epic synth lines. Meanwhile on "Tough Night", Samujlo opts for a harder sound - the kick drums are heavier and provide the backdrop for the German producer to weave in wild rave stabs over an ominous sub-bass. Changing tact again, "Fall" sees Samujlo opt for a driving track, replete with murky bass and a build that is nothing short of mesmerising.
Review: Next up on Reinier Zonneveld's label is a 303-heavy dance floor compilation. The label owner sets the ball rolling with the pile-driving rhythm of "I Can't Sleep", which features wild rave stabs and repetitive vocal samples populating its pulsating acid lines. Roberto Capuano's "A Ray of Light" is more epic, with trance hooks accompanying an ominous bass, while there's also a trance influence on Beico's "Dear Loneliness". Meanwhile, the mood darkens on Harvey McKay's "Circular Dimension", a steely jacking affair that's inspired by 90s Chicago techno. Uto Karem's contribution ventures farther down the intensity route, with the Italian producer deploying pounding kicks and a growling bass on the relentless "Zero Gravity".
Review: Harvey McKay follows last year's Black Horse release on Filth On Acid with this excellent peak-time EP. The title track is a jacking affair that features a combination of epic synth builds, snare rolls and the well-known "something for your mind" vocal sample. On "Drugs", McKay opts for a different approach: dense tribal drums support piercing steely riffs that build and build throughout the arrangement, while "Indigo Girl" sees the Scottish producer choose a different approach. Underpinned by tough kicks and ticking percussion, McKay drops dubbed out chords and repetitive vocal samples that create a hypnotic effect
Review: As if encouraging you to feel good while feeling free, Rotterdam's Reinier Zonneveld throws down a gauntlet of gabba infused techno with "Feel Free" and "For The People". Classic hardcore rave stabs and bursts of synth fire around the builds, drops and crescendos of the title track, anthemic in nature, with "For The People" channelling some moodier frequencies from the realms of Chain Reaction and German dub techno. Two sure fire numbers for your techier, free flowing hard trance raves and warehouses techno sessions.
