Review: After three successful EPs for the wider Lobster Theremin unit back in 2015 and 2016, 1800HaighStreet drops an album for the London label, a twelve-track excursion into the shadiest, most deranged forms of house and techno. This is no surprise given the label's rise to fandom and hypedom over the last 3 years, but the producer has still managed to impress thanks to a glorious collection of distorted electronics. Each tune is very much focused on the dancefloor, however, and as such, thr label heads have dedicated no more than 2 tunes per side. Jeff Mills style, innit!? Gloriously hallucinogenic loops and a torrential downpour of harmonies encircle the entirety of this release, making it akin to the sort of no nonsense techno that emanated from the infamous Tresor basement back in the 90s. Hardcore gear. No bullshit.
Review: 2019 has been a relatively busy year for 1800HaightStreet, with Confess following a dubbed out EP on the M?rk imprint. This four-tracker is a diverse affair, with "Alone" focusing on a tough, steely rhythm that snakes and growls menacingly. In contrast, "Premonition" is a deep, resonating techno track that swirls and swaggers seductively, while the title track sees the pair deliver an atmospheric, mid-tempo workout led by soaring strings and based on intricate, glitchy beats. Keeping their listeners guessing till the end, 1800HaightStreet's parting shot, "Infestation', is a snappy dance floor track that's populated by eerie synth loops.
Review: 90 Process are Frenchman Julian Muller & Hadone: the latter is now Berlin based and over the years have released on labels such as Code Is Law, Ravage and Initial Berlin. Old school techno inspired by the early '90s is the flavour on the fittingly titled No Warehouse Needed EP. Menstasms, breakbeats and classic chord progressions are on display with the title track, while classic German trance gets an impressive tribute on the high octane antics of "Hate In The Pants". Even the throwback sounds of early jungle is revisited on the loved-up and evocative "Strictly Cut".
Review: Andrew Red Hand has been described as eastern Europe's version of Underground Resistance, and based on this release it's hard not to see some similarities. That said, Revolution '89 starts with the decidedly European-focused moody electro of "In The Cemetery", while on "Slaying the Dictator", he ventures into a more brooding, 4/4 techno approach which is informed as much by ebm and horror disco as techno. On "There is Hope", the Romanian producer's love of Detroit techno comes back again thanks to the use of a predatory bass and sublime synths, while "Bombing for Peace" sees him deliver a Chicago-influenced banger that centres on frenetic snares and mad acid lines.
Review: Andy Garvey follows her 2019 Eternal Recurrence debut on Lobster Theremin with this excellent EP. "Red Stars" kick starts the release with acrid acid lines and rickety kick drums, while she also daubs the insistent rhythm of "8808808.08" in 303 lines, before shifting focus for "Mind Games". There, Garvey drops a brooding bass and a stepping electro rhythm that supports tripped out vocals. "Sub.conscious" sees her change the approach, delivering a slowed down, teased out jam featuring evocative melodies. Rounding off this exceptional EP is the title track, where Garvey shows herself to be a master at crafting deep, rumbling electro.
Review: Again with the very unique sounds of Lobster Theremin we are treated to some truly experimental composition here as ASOK brings forward four stunning creations. We begin our journey with the emotional soundscaping and shuffling subtle percussive processes of 'Hex', before landing on the more expansive breaks work on the title track 'How It Is'. Next, we find ourselves treading into a more up-beat design in 'Hyperspace', again packed with well cleaned rolling breaksy drum works and expansive pads, before we finish up on the nostalgic waves of 'We Are', rounding up proceedings perfectly.
Review: For his debut release on Lobster Theremin, ASOK aka Stu Robinson goes deep. The title track features rolling break beats, layered textures and a smokey vocal sample. "Frontier" is based on a similar approach, although this time the rickety 808s underpin a melancholic feeling and a brooding, dark bass that works its way through the arrangement. "Nowwhat" sees a flurry of dense, rhythmic activity, with Robinson dropping wired tonal sequences and eerie chords, while he closes out this atmospheric, moody release with "It's Over". Featuring the same type of vocals as the title track, it unravels over tight electro drums and woozy filters
Review: The mysterious Bakground returns to Lobster Theremin and he's rolling with esteemed company as Sangam adds his deep threads to the weave. "90s Living" lives up to its name; big immersive atmospheric jungle, all loose around the edges but held together so firmly. "Intermission" provides no respite - the only break is the one that rolls beneath the shimmering keys. Meanwhile "Keeper Of The Lost" takes us down to 150 on a robust set of rolling breaks before "Carousel" brings us back down to earth softly, deeply, ambiently...
Review: Amusingly, the bods at Lobster Theremin recently described Blair Sound Design (the artistic alias of Floridian Kyle Lyon) as a "$1 house music purveyor". Whole that might sound a tad harsh, it's meant affectionately and refers to the producer's love of both "bargain bin finds" and dusty, lo-fi synthesizers and drum machines. He begins this LT debut via the bumping beats, incessant drum machine cymbals and snaking synth-horns of peak-time roller "Startup Tool", before unfurling some ZX Spectrum ambient in the shape of "RNG Therapy". Breezy club drop "Silph Scope" sits somewhere between the NYC proto-house goodness of Paul Simpson, Burrell Brothers style deep house and squelchy electrofunk, while closer "Overheated" comes on like Kevin Dam Funk making New Jack Swing with the assistance of a house-loving ice hockey rink organist.
Review: Reece Walker's Carmel project is taking a very definite shape as more and more of his work is released. So far, the artist has only collaborated on a number of different electronic projects, such as EBS or Fishermans Friend, so this debut solo outing on London's Lobster Theremin feels like the perfect platform on to hopefully kick-start what seems to be a solid ambient project. "12 Hours" is a tune of startling beauty, opening on a wavey soundscape that has the essence of the ocean in its underbelly, creating a lovely movement from a limited set of sounds and manipulation; "Georgia", the title track, steps closer towards the house template, eventually transforming its placid drones into a solid dance rhythm...albeit subtle in its approach and limited in its composition.
Review: D.Dan launches his latest EP in storming form; "Switchblade (Descendant Mix)", with its visceral kicks and wild filtered builds, sounds inspired by the more abrasive end of the Synewave catalogue. On the title track, he opts again for a heads-down approach, with ominous filtered chords underpinned by tough kicks, while on "Burnout", the pace picks up and the drums are more relentless as the Berlin-based producer's track hurtles its way towards Advent-style intensity. "Escape The Echo Chamber" is less pac-y and resounds to a rolling house groove and vocal snippets, but even here the underlying feeling is one of understated menace. Offering some solace for battered ears is the deep techno of "Take It Easy".
Review: Room 101 might be where things are banished but "Room 202" is where it's at. A place where things are brought back from the past and celebrated for their true virtue; things like grainy, warm analogue production and robust grooves layered with devilishly simple details. With crunchy kicks and shimmering keys thrown in, you'll want to stay in "Room 202" long past last orders. "La Nuit" takes us deeper into the wee hours on a chugging new beat rocket that's steam-powered by a Moroderist bass arpeggio and more disco pops and bubbles than your suggest weekly intake allows. Spanish newcomer DIY 1990 builds us up again!
Review: Following up great ones by Marco Lazovic, AFAMoo and ASOK, Sweden's DJ Different steps up to the Lobster family's main label with an EP that the label best describes itself as traversing the 'Orion Nebula to the very edges of the Oort Cloud'. From the evocative sci-fi ambient of "Fast Forward To The Outer Rim" and the zeitgeist of early '90s rave/hardcore on "Angels" and similarly on the pitched-down junglisms of "Real" - featuring the unmistakable vocals of a certain well known pop diva. It all ends smoothly with the soulful and emotive deep house of "Memories Of The Old World" that is the soundtrack to a perfect comedown.
Review: Having spent 2017 delivering releases under a variety of aliases for a number of hyped labels, the duo once again dons the DJ Kush Boogie pseudonym on their first outing on Lobster Theremin since 2016. Melodious and atmospheric throughout, Chardonnay sees the producers deliver a quartet of spacey and becalmed deep house cuts rich in vintage drum machines and Motor City techno inspired electronics. Highlights-wise, we'd point you towards the gentle positivity of "Chardonnay", with its' vintage Floating Points style synthesizer flourishes, though many DJs will undoubtedly be drawn towards the chunky low-end hustle, tough beats and repetitive string samples of "Club Tool 6". We can see the intergalactic bliss and rolling deep house warmth of "The Spot" getting plenty of club plays, too.
Review: Dusted down and sun-bleached grooves from Auckland based duo DJ Kush Boogie, who return to London based Lobster Theremin for their third release. Their new Home + Living EP features the evocative title track with its warm soft chords and Casio sampler vocal chops, the tropical minimalism of "Acid Cut" while "Dancers Cut" (Flute mix) recaptures the vibe of that second Summer Of Love even if the Kiwi pair probably weren't even born yet! More lo-fi and saturated deepness from Lobster Theremin: modern experts in meme house.
Review: Tony Donson unveiled his DJ Sonikku project earlier this year, delivering an impeccable EP of humid deep house for Lobster Theremin offshoot Distant Hawaii. All My Friends sees him transfer to the crustacean-themed parent label, in the process adding a little more analogue crunch to his previously dreamy productions. There's much to admire, from the Bobby 'O' inspired high-energy cheeriness of opener "Chemical Plant", to the proto-house melodiousness of "Sand Oasis". Best of all, though, is "Track 3", a wonky, back-to-basics bumper that takes a left-of-centre approach to classic New Jersey garage.
Review: Next time someone tells you that jungle's too narrowly defined and formulaic, reach for this admirably inventive EP from Dust E-1, which brings plenty of fresh ideas to the genre. 'Sun Dials' intersperses fierce ragga jungle licks with a dusty, lo-fi jazz loop, while 'Civilised Rhythm' could almost slip unnoticed into a straight-up dub set but also brings chipmunked vox and ominous synths ? la vintage hardcore. On a more typical junglist tip, 'One On One' is a sparse, moody roller that could have beamed straight in from 1993 and 'Truck Stop Steppers' has an uncompromising darkside feel.
Review: Representing Chi-town's next-gen league of flag-bearers, David Garrett returns to the mighty Lobster Theremin with four more ageless house works. Deep, slightly hazy, strutting, dynamic and loaded with some great sample play, these tap deep into the source. Highlights include the sudden splashes of colour that come out of nowhere on "Sample Sesh" and the insistent, dubby ripples of "Touched Feb" with fellow Chicago vibe maestro Adam Rowe. Complete with the breezy jazzy jacks of "Two Nineteen" and the poignant chords and warm bass of "Ooh Aah", this is one dog you won't want to stop barking any time soon.
Review: Puyain Sanati aka Grammar of Movement debuted on Lobster Theremin back in 2016, and for his return release, the underground artist is releasing on the Lobster UNDR sub-label. The title track is a hyperactive electro roller that resounds to chilling synths and a bubbling groove. On "Model 1600", Sanati drops the tempo but ups the mystery levels, as a plunging bass and razor-sharp percussion undercuts eerie synth lines. On "IOI", there is a similar vibe, but this time, the mood descends into frostiness thanks to a combination of atmospheric pads and blurry 808s. "Sad Juno" sees Sanati bring his sound back into sharper focus with crispy drums supporting chiming melodies.
Review: Los Angeles based Grant heads up The Lauren Bacall, which has presented work by Gable, AVA and Bardot.. but then again they could possibly be more of his own aliases. After his impressive LP entitled Cranks on Mork, he now returns to its parent label Lobster Theremin, with the No Lights EP. It features several servings of house and techno memoirs captured to VHS. Starting off with the neon lit vocal-led anthem "Feeling" (Vocal mix), there's the mandatory lo-fi jam in the form of the darkly stripped back and heads down groove of "Values". The title track is particularly impressive: a woozy and hypnotic after hours groove with some nifty drum computer moves and those moody Mr. Fingers style pads that navigate their way through all the tape saturation.
Review: Sometime mystery deep house producer Grant - now revealed to be an alias of Frank & Tony member Anthony Collins -has a track record that many of his peers surely envy. To date, he's barely put a foot wrong and "Fantasy Blues", his first full-length outing on Lobster Theremin, is another superb set. Warm, melodious, musically detailed and far more imaginative than most deep house albums you'll hear this, the set sees Collins slip between oven-hot, jazz-funk influenced electronica ("Ephemeral Chase"), revivalist early '90s NYC deep house ("Mind & Space", "Finite Elements"), loose-and-languid ultra-deep goodness ("Amaranthine Profundity", "Blurred Harmony") and the kind of relaxed, intergalactic fare that sits somewhere between ambient techno and ocean-deep dream house. In other words, it's superb.
Review: Previously on Distant Hawaii, UK producer Tom Harris aka Hidden Spheres appears now on Lobster Theremin with four servings of his soothing, late night house. "It Ain't Easy" is a deep, jazzy and loungey joint, reminiscent of early Atjazz, as is the sexy and evocative "IshOnSax" featuring 'some of the most contagious saxophone ever laid to wax' courtesy of Ishmael. Then it is the Moodymann-ish "The Feels", a raw house number full of heart warming pads, dusty rhythms and soulful vocals. Closing out the release is the melting pot of swirling sounds, field recordings and playful drum programming on "It's Gonna Last".
Review: Earlier in the year, Hidden Spheres launched his own label, Fruit Merchant, offering up his most colourful, dreamy and tropical tracks to date. Naturally, there's an altogether different feel to this EP on Lobster Theremin (his second for Jimmy Asquith's lauded label). It's similarly melodious and analogue-rich, of course, with the cultured retro-futurist house warmth of 'This Is 4U" and bleeping deep house/electro fusion cut "McKenna's Mind" setting the tone perfectly. Elsewhere, he joins the dots between Chicago jack-tracks, organ-heavy '90s U.S garage and New Jersey deep house on "Lazer Beam", before rounding things off with a looped vocal DJ tool ("Talking Headz").
Review: Somewhat surprisingly, it's been two years since Imre Kiss's most recent outing on Lobster Theremin, the fine Raw Energy EP. This belated follow-up - his first single since - is every bit as essential. Perhaps the most striking track is "Never", a fizzing but spaced-out techno excursion that makes great use of tumbling sub-bass and dreamy, ambient style chords. That said, the slower and even more bass-heavy curiosity that is "Stateless" - mutant broken techno fused with ultra-deep house - is almost as good, while bold, bumpin' "Track 3" is the EP's most straightforward dancefloor moment.
Review: Jeals comes from 'Poland via the USA' according to Lobster Theremin, but as Flux demonstrates, his sound encompasses many strands. Opening track "W Scape" is a dreamy ambient affair, while "What It's All About" sees him deliver a delightful oddball house affair, combing the London label's in-house jerkiness with some early Dan Curtin-style jazz influences. On "Gentle Chain", Jeals moves into warm, downtempo electro, but picks up the pace again for the US house of "Flexx". Rounding off what is a deeply impressive debut release is "Up There", where the newcomer combines blips and frequency tones with crashing claps and a jerky rhythm.
Review: Jeals follows 2017's Flux on Lobster Theremin with this excellent electro-themed EP. "Crash" kick starts the release with steely, driving drums and a powerful, throbbing bass underpinning eerie synth lines and foreboding chimes. On "Happening", Jeals takes a trip down a more conventional electro route; the synths are frosty and haunting and the bass twists and turns in an ominous fashion as Jeals drops rickety percussion and acidic licks. In stark contrast is the swirling ambient sound scapes of "Finally", while he takes another sideways step for "XL"; focusing on 4/4s, it sees him deliver wide-eyed electronic melodies over a spiky rhythm.
Review: The sound of 90s acid techno bubbles to the surface on Julian Muller's latest release for Lobster Theremin. In particular, the title track sees him marry searing 303s with dreamy hooks to craft a peak-time, pounding rhythm. "Sidonia", with its tough kicks and buzz saw bass, sees him opt for a slightly heavier approach. The release takes a euphoric turn on "Aurora's Night", with Muller delivering epic melodic builds that would not sound out of place on an Eye Q EP. Finally, there's "Reality", revolving around a lean, driving rhythm and featuring some billowing melodies - this time with a slightly darker undercurrent.
Review: The work of Kreggo, who is known for aliases such as G-23 and DJ Groov, Introspective was recorded in the rural Italian village where he was raised. Recalling the IDM-sounding of fellow Italian producers D'Arcangelo and in places the lush, bucolic melodies of Boards of Canada - especially on the gentle back beats and serene sounds of "Mind Blooming" - it's a mellow, affair. Even when he manages to push towards the dance floor, as is the case on the lo-fi "Blue Seq" or the more uptempo break beats and melancholic tones of "Look at Me", the approach is always understated. It's another victory for Lobster Theremin's A&R department.