Review: On German producer and Aleph label founder Aera's latest release, the coalescing of influences from the past forty years of electronic music is audible. From the early electronic-style noises that warble over the bubbly acid pulse on the title track to the deeper than deep house of "Krystal Close" and the Mathew Jonson-sounding micro-trance melodies of "Keeping the Book", Running Hot is nothing if not adventurous and diverse. Innervisions also deserves praise for its choice of remixer; Steve Rachmad is not the most immediate name one would associate with the German label, but he does a fine job here, turning "Keeping the Book" into a deep, pulsing techno track, accentuating the original version's beautiful spacey-ness.
Review: Aleph music chief Ralf Schmidt aka Aera is back on the esteemed Innervisions imprint with the Prana EP, which is imbued with the instincts of a storyteller across six sonically different yet interconnected micro-worlds. From the dreamy and sublime vibes of "Way Out" where tech house and 8-bit elements collide, to moments of cleverly crafted and emotive futurism that we've come to know and love from the German producer - which can he heard on riveting journeys like "Turning Machine" and "Little Smasher". It wouldn't be an Innervisions record without a bit blissed-out and melodic deep house, would it? "Brackets" has you covered on that front.
Review: Fresh from the release of his umpteenth album, Sebastien Devaud pops up on Innervisions with regular vocalist Scalde in tow. There's no original version, just two terrific - and near epic - reworks from Innvervisions bossman Dixon. As you'd expect, he does a good job balancing his usual shuffling, swinging beats and percussive builds with some of the original's more melodic elements (which, oddly, include snatches of choral singing, spooky organs and sweet guitar licks). The instrumental dub is expansive enough, but the full vocal mix is seriously grandiose - a ten-minute builder that just grows and grows.
Review: Agoria has enjoyed a long working relationship with Luxembourg-raised classical pianist turned experimental composer Francesco Tristano, having released a number of the latter's works on his Infine label. Here, they join forces for "Kick The Peace (part 2)", the highlight of a smart two-track EP for Innervisions. Woozy, intricate, musically complex and spooky, it impressively fuses Tristano's compositional skills and love of intertwining melodies with Agoria's shuffling grooves and techno influences. While an impressive piece of instrumental music, it's also got enough chops to work a dancefloor. The EP's other track, Agoria's solo effort "Scala", has more immediate dancefloor charms, not least some hustling, classic house drums, typical Innervisions build and some delicious piano melodies.
Review: Released on Belgian institution R&S Records back in 2016, Alex Smoke's album Love Over Will signalled a new phase of deep artistry for the stalwart Scottish producer. Two years on we get treated to a couple more special remixes (a first volume was released a couple of years ago) courtesy of Dixon & Ame's Innervisions out of Berlin. Italian power duo Tale Of Us deliver another awe-inspiring expression of dancefloor drama with their spellbinding rendition of "Fall Out", while similarly Maeve co-head Mano Le Tough brings on the sonic theatrics and narratives with his rendition of "Dust" - a deep and druggy techno journey into the later hours.
Review: Ame bring out the bells and horns for the duo's latest two track EP which begins with the twists and turns of "Tatischeff", a Balearic-tinged bassline-driven progressive house production tipped with euphoric touches of Italo disco. "Den Ratta" on the other hand opts for something percussive, and clocking in at almost nine minutes, allows Ame the time to confuse, love and tease the dancefloor into climax the Innervisions way.
Review: The title of Ame's debut album could sum up their entire output to date, and in many ways, Dream House is the ultimate statement from the German duo. However, it is not solely focused on the kind of lush, tranced out melodies that they made their name with on "Rej", but it does features collaborations from Gudrun Gut, Roedelius and Planningtorock. It also moves from the hypnotic chants of "The Line" - a track penned with Herbert - into the hollowed-out break beats of "Deadlocked", the Roedelius collaboration, and into more reduced grooves like "Queen of Toys". On "Gerne", Gut delivers a breathy, sensual vocal over a grinding rhythm, which is far removed from those breathy grooves that Ame first rose to prominence with. However, echoes of this hypnotic aesthetic is never too far away, audible on the droning, Dinosaur L-style guitars of "Positivland".
Review: Dream House was released last year by acclaimed German duo Kristian Beyer & Martin Wiedermann aka Ame to much acclaim. The splendid tracks that comprised this evocative home listening journey are now remixed by some of the scene's top names and aimed squarely at the main room dancefloor. On Part I, we have Berlin-based artist (and Keinemusik main man) Rampa take "No War" deep into the exotic, in dreamy and majestic fashion, while Diynamic chief Solumun delivers two versions of "The Line" - Frank's Vote being a vibrant neon-lit perspective with an '80s influence, while Kristian's Vote has a more ethereal deep house vibe full of sweeping layers of arpeggio.
Review: This second remix package of tracks from Ame's Dream House long player features dance floor remixes to suit a range of moods. At one end, there's the atmospheric Fango take on "No War", where the original version's woozy chants and dreamy synths are underpinned by rolling back beats. At the other end, there's Marcel Dettmann's version of "Hellikonia", which sees the Berghain resident drops a steely, metallic rhythm that gradually spirals into a heady climax. By contrast, Dettmann's take on "Gerne" is less dance floor focused; a breathy, down tempo number its moody electronic undercurrents effortlessly accompany the original track's mysterious vocals.
Review: Innervisions head honchos Kristian Beyer and Frank Wiedemann (aka Ame) released their ambient/Balearic styled opus 'Dream House' much year to much acclaim. And after two volumes of terrific remixes by some of the scene's top names in house and techno - we now have the third terrific instalment. Features Wiedemann's cohort in side project The Howling Ry 'X' Cuming - who delivers a rework of "No War" which gets into moody and atmospheric territory, "Gerne" feat. Berlin post punk legend Gudrun Gut gets a typically tripped-out and hypnotic perspective by Frankfurt veteran Roman Fluegel, and Irish deep house hero Mano Le Tough goes for yet more evocative dancefloor narratives on the sublime vocal led pop-inflected cut "Oldorado".
Review: Ame have always been an inventive pair, but even by their standards this is a departure. Along with Amampondo, they've laid down a delicious chunk of ethno-house that just bristles with summery energy. There's infectious ethnic (possibly West African) lead and backing vocals, looped-up acoustic guitars, heavy electronic melodies and, naturally, some deliciously epic builds based around deep organ chords. While the first version is closer in style to much of their previous output, it's the second version that really hits the spot - if only for the sweetness of the production and the summery strut of the composition. It won't be everyone's cup of tea, but we think it's spiffing.
Review: Over the last nine years, Dixon's Innvervisions label has cornered the market in deep, emotive, gently building deep house. Their tracks - long, sensuous, intricate and often beguiling - inhabit the middle ground between deep house, slow techno and (whisper it quietly) post-progressive house. This two-tracker for sometime DiYnamic man David August fits the mould perfectly. "Epikur", in particular, is a thing of great beauty, with gently unfolding pianos, alien chords and winding electronics tumbling down over a sumptuously touchy-feely groove. "Agatha" is a touch more upbeat, with exotic, humid melodies offering a nice contrast to August's dreamy production. Like "Epikur", it's almost unfeasibly evocative.
Review: This German duo has released separately on labels like Souvenir and Pasta Musik, but Young World is an impressive collaborative record." Who is Manfred?" sounds as much inspired by pointillist, minimal techno as house, with its hypnotic, bleepy groove. Midway through, there is a glorious transition, with the tones giving way to bird song samples and breathy breakdowns. The tile track goes in the opposite direction. It starts with understated beats and mellow pads, before gradually moving into a demented acid spiral midway through. However, it seems like this pair's first love is deep, musical sounds and the track ends with a tranced-out denouement.
Review: It has been four long years since South African producer Culoe De Song last graced Dixon's Innervisions imprint. Happily, this belated return - a year after dropping his impressive Exodus album on Soulistic - sees him at the top of his form. "Y.O.U.D" is, in many ways, what you'd expect - a dense but picturesque blend of thick tribal percussion, fluttering electronics, sampled yelps and eyes-wide-shut melodies. He opts for altogether deeper vibe of "Geyser", layering dreamy chords and hazy melodies atop a hypnotic, shuffling groove blessed with delicious atmosphere. Strong stuff, all told; it's a pity it's been so long between drinks.
Review: Given the involvement of Craig Richards' former Tyrant sparring partner, Lee Burridge, it's perhaps not surprising that "Lost In A Moment" is decidedly melodic, rather epic and bordering on progressive house in its outlook. It's not surprising that it appealed to Dixon, either; this is deep house that slowly unfolds over 10 sumptuous minutes, with beats that pop and click while melodies wind their way around cosmic pads. Dixon's rework is, if anything, even more grandiose, beefing up the beats while adding even more layers of vaguely cosmic chords and synth-flute melody. Honestly, it's like a German deep houser's take on prog. And it's amazing.
Review: With his strong penchant for emotive and euphoric dancefloor narratives as heard on Exit Strategy, Afterlife and Aeon - it was only a matter of time until Denis Horvat's sound became appreciated by Berlin imprint Innervisions. Since appearing on the label's Secret Weapons compilations a couple of times in the past, the rising Dane now makes his debut proper for the label - for the third and final installment of this trio of EPs. From the reflective mood music of opener "Tajna", to the soulful and evocative dancefloor drama of "Fragmental" or the moody futurist groove of "Pure Distance" - hammering the message home with that bit of power.
Review: Los Angeles-based Brit Chris Barratt returns to Innervisions, after appearing on their X compilation a little while back, in addition to appearances on Bedrock and Sapiens. Imitations Of Life is most likely named after his solo imprint Art Imitating Life, and much like that - the tracks here are in the same kind of vein. From the melodic dancefloor drama of ,,Sketch 7", the soaring synth leads taking centre stage on the evocative "Sketch 17" or the glassy-eyed and heartfelt style of deep house that is a perfect fit for Ame and Dixon's imprint on "Sketch 1".
Review: Second time around for South Sudanese musician and political activist Emmanual Jal's "Kuar" single, which first landed on Innervisions a decade ago. That time, there was a lot of heat around Henrik Schwarz's headline-grabbing remix, which re-imagined Jal's traditional Sudanese track as a tech-tinged chunk of Afro-house brilliance rich in bold bass, trippy electronics, layered percussion and rave-ready late night riffs. That fine rework is given another airing here alongside a previously unheard Schwarz mix subtitled "Don't Let Your Vote Be Fake Newsed". This revision strips out much of Jal's vocal, instead offering a pumped up, riff-heavy variation on Schwarz's original remix.
Review: One third of Innervisions, one half of Ame and The Howling and one of the all round modern greats of techno and house music. Under his own name for the first time, Frank Wiedemann unleashes more sure-fire and emotive dancefloor intelligence on The Moorthon EP. Starting out with the soulful tech house bounce of "Moorthon II" he gets more on the vibe you know him for ie: moody and epic with "Kleiner Vogel" with its dark strings, wonky synth leads and adrenalised rhythm. But he saves the best for last on the bittersweet techno-soul of "Moorthon I" featuring some immaculate programming and truly stunning synth textures from a true master of the sound.
Review: German duo Frankey & Sandrino are back again on Innervisions their third release for Dixon and Ame's label thus far. On "Wega" it's a deep and spacey tech house affair, with exotic choral chants reminiscent of Villalobos' "Enfants" used sparingly over a tunneling and entrancing groove. Next offering "Pollux" is the real winner on here though. This darkly minimal house experiment builds gradually into a chill and glitchy house jam with sparse rhythm arrangements and buzzy melodies.
Review: If there's one thing that Innervisions is good at, it's delivering heavily electronic deep house that achieves the perfect balance between grandiose builds, stretched-out periods of groove, and trippy, main room flourishes. That pretty much sums up this latest EP from sometime Drumpoet Community and Moodmusic regulars Frankey and Sandrino. "Acamar" leads the way, transforming from a picturesque deep house shuffler to a big room anthem via extended breakdowns, woozy synthesizers and bold, Latin-influenced electronic melodies. "Lukida" offers a deeper take on the same formula, with rising and falling electronic melodies, sweet chords and an altogether looser, more percussive groove.
Review: The ever reliable Frank Beckers and Sandrino Tittel (better known as Frankey & Sandrino to their Mums) return to Innervisions with with yet more of their epic dancefloor narratives - and taking up where they left off on 2017's Wega EP. From the emotive and melodic techno soul of "Mercury" to the deep sonar transmissions of "Gamma Ray" that will hypnotise the listener into submission with its complex arpeggiations this is some of the pair's finest work. Finally making way for "Zeta" to complete the package: a slow motion expression in minimalism that features classical musical motifs with linear synth sequences that were reminiscent of Robert Hood's earlier work.
Review: Michael Gracioppo only made his debut earlier this summer with a release on MCDE Recordings but already he's being hunted high and low for his delicate but diamond-strong sounds. Full of contradictions, it's clear and resonant but shrouded in shadows; strong and methodical but somehow florid and brittle. Its steady ticking heartbeat lies underneath some hauntingly beautiful verses by Canadian deep house vocalist Wayne Tennant. It's chillingly good - a track that lingers and reverberates after it finishes. No wonder legendary label Innervisions snapped Gracippo's hand off for it.
Review: Here, Michael Gracioppo's tactile 2013 deep house gem gets the remix treatment, with Tale of Us & Vaal and German producer Recondite providing the proverbial spit and polish. The former - famed for their woozy productions on Visionquest - deliver a typically atmospheric rework, lacing selected snippets of Wayne Tennant's heady vocals over a claustrophobic groove, murky chords and tumbling melodies. Recondite, meanwhile, delivers two reworks. While his Club Remix is tasty - think alien synths, touchy-feely grooves and wide-eyed late night vibes - it's the alternative Blue Train Ride Remix that stands out. It features many of the same elements, but adds some delicate electronic melodies that compliment the sturdy bassline and sparse production.
Review: Henrik Schwarz, the veteran of challenging cross-genre experimentation and collaboration, returns to the Innervisions imprint. With his first EP for 2020, he heralds the third decade of the millennium and their collaboration with SelamX studio across two powerfully emotive tracks. From the life-affirming epic "Together" and its dramatic choral refrain and elevating chord progressions which are all geared for some perfect dancefloor drama. Second offering "Omnibus" shows more restraint but it's equally as evocative, once again demonstrating the German producer's talent for soulful hi-tech sounds.
Review: The original version of "Phases" first appeared on Ninja Tune sub-label Counter, and now Innervisions are putting out new interpretations of it. This is hardly surprising as Howling comprises singer Ry Cuming and Frank Wiedemann, one half of Ame and Innervisions co-owner. The only version that re-appears here is the dub interpretation, where a throbbing low end underscores Cumings' quasi-operatic outpourings. Elsewhere, Alex.Do turns "Phases" into an epic, soaring affair, guided by dramatic organs and a pulsing groove. The other versions, from Toto Chiavetta, explore a less obvious direction. On the "Colour Zero" version, layered drums and an organic rhythm underpin the unraveling vocal, while on the "Colour Two" take, flutes and flowing piano lines make for the most suitable accompaniment to Cumings' vocals.
Review: Innervisions' Secret Weapons series is always worth a look, if only for the opportunity it gives to delve into Dixon's CD wallet and see what he's been hammering over the last six months. As usual, there's plenty of Grade A material to enjoy, from the undulating rhythms and drifting chords of Hunter Game's "Ice", to the forceful electronics, woozy pads and dreamy vocal snatches of Flowers & Sea Creatures' picturesque "Overworld". Elsewhere, Nu Tone delivers some intense afterparty fare in the shape of "Rumble", while Ripperton reaches for the lasers on the shuffling deep house gem "Unfold". Arguably best of all, though, is Aera's "Freak Wave", a midtempo shuffler that boasts a wonderfully warm, organic feel, with rich percussion and fuzzy analogue synth-work.
Review: Jimi Jules has released material on Watergate and Defected, but his debut EP on Innervisions sounds removed from those labels. There's the buzzing, frazzled electro of "End of the World", while on the title track, he slips into deep, dubbed out techno. Clearly, Jules is a master of re-invention and on "We Out Here" and "Future Is Now", the Swiss producer veers into the kind of twitchy, stripped back house sound that Innervisions is more synonymous with. However, this is not a typical release, and "Last Muuh Before Paradise", with its live bass, sonorous brass and micro beats is an unusual foray into left field house.
Review: Given his previous productivity, Andre Lodemann has been rather quiet of late, with his last release of note being the Coming My Way EP on DFTD in 2014. Here, he hits back hard, dropping an impressive two-tracker for Dixon's increasingly dark Innervisions outlet. While virtual flipside "Between The Notes" is particularly stripped back and wonky - think 10 minutes of throbbing, minimal-influenced grooves, epic builds and, eventually, spine tingling backwards strings - it's title track "Leaving The Comfort Zone" that really hits the spot. While similarly stretched-out in mindset, it's altogether tougher, and the minor key melodies a little spookier. It's also rather psychedelic, despite the presence of what sounds like a sly guitar sample from Odyssey's version of "Going Back To My Roots".