Review: Lobster Theremin welcomes the return of emerging producer Amy Dabbs who follows up her Girl Like Me debut on Distant Horizons by splashing out on its parent label, Lobster Theremin. Throwing down a gauntlet of dub inspired UKG, house and R&B tracks, Amy Dabbs hits the spot with "Allure". Flirting with rave aesthetics all the more in "Second Thoughts", Dabbs keeps it instrumental, bassline heavy and close to the London broken beat scene in 'Take It" - hi-pitched vocals included - with a murky, lo-fi and computer music version of the title-track by Steel City Discs debutante Yazzus.
Review: Originally released earlier this year on vinyl via Lobster Theremin's SITU offshoot, Orange Cirlces marks the debut of previously unheard British producer Memphis Glass. As debuts go, it's one of the most accomplished we've heard for a while. With Memphis Glass drifting between spacey, sub-powered deep house beauty ('Orange Circles'), angular, analogue-rich retro-futurism ('Ilford Depot'), shuffling, picturesque soundscape house ('Robots in Lust') and ultra-melodic dancefloor positivity (the fluid waves of synthesizers, dusty machine drums and floatation tank vocal samples of 'Zunk'). The EP's one remix comes from DOS, who gives 'Zunk' a warmer, hazier and ultimately even more attractive spin.
Review: La Fraicheur has been winning praise thanks to a series of releases on Infin?, and now she delivers a blistering EP for Lobster Theremin. "La Fin Du Debut" is a frazzled, stuttering affair, led by fuzzy percussion, while on "Garbage", she layers a stream of consciousness vocal over a niggling groove and ominous bass. On "Renouveau", La Fraicheur goes for an entirely different approach, with menacing, buzz-saw bass unravelling over a stepping rhythm, while the closing track, "Freezing", is the most forceful. Centred on an industrial strength rhythm and visceral low end, it sounds like La Fraicheur's own take on ebm.
Review: Breaking through the surface last year with a sweet run of releases via the likes of E-Beamz, Sneaker Social Club and Lobster Theremin, the Sheffield three-piece Denham Audio return to the latter with another five-track missive: Transcendence. Taking in the slightest of bleep references atop a jungle groove and soundboy lyrics is "Run Da Ting", get a second bite out of something similar (only graced by rave) in "Retort". Its lead track "Transcendence (feat 7ip7o3)" sees a lo-fi, trippy and drum and bass sound flirt with vocals and textures that evoke imagery from the film Lost in Translation, while for something retro, housier and garage tipped its all about "Top Boy" and "Club Culture".
Review: Having released on underground labels like Lost Palms and Arts, Trudge now drops his debut on the prolific Lobster Theremin imprint. "Ice On My Neck" is a frenetic slice of rolling tribal techno, powered by a booming bass and peppered with hardcore stabs. The title track is more linear and streamlined, but again features a soaring bass at its centre, acting as the backdrop for acid lines and powerful break beats. "Bird Ghost" sees Trudge deploy cascading drum patterns to dramatic effect, accompanying epic synth builds, while "Night Shift" ups the pace, with Trudge dropping a frenetic but atmospheric drum'n'bass arrangement.
Tim Reaper & Devnull - "Give It 2 Me" - (6:08) 160 BPM
Review: Tim Reaper, fresh off the back of his nomination in the DJ Mag Best of British Awards, is back with is next EP on the mighty Lobster Theremin, and it's yet another outstanding breaksy contribution to the label's back catalogue. 'Anytime' features Devnull and graduates from wispy vocal work to fractious breaks in a manner only Tim can pull off, with drum rolls coming out the wazzoo and a rave-embedded atmosphere which is simply brilliant. The title track blends bubbling synth lines with choruses of strings that build into clattering breaks with a patter of old-school vibes, another proper underground cut from the master himself. Seminal.
Review: Questioned in the past for their flavour-of-the-month-attitudes to house and techno, Lobster Theremin has come through the other side as a bastion for what's good about contemporary US and UK inspired dance music (with that lo-fidelity touch). Always on the hunt for fresh artists mining such a sound, the label gives Saturday Night Rush (also known as Truant) a full debut with a four-track EP covering an expansive spectrum of classic house sounds tied together with a bevy UK influences; be they bass-driven breaks, piano stabs for the rave to slicing garage percussion, raw drums and luscious synths. Lose yourself to the bass wobble of "Relief", uptempo deep house, trance and UKG of "Unite" next to the dub noir of "Dance Wicked" and a Chicago house overload in "Real Headz". Hot rush.
Review: Fittingly, Szilveszter Horvath's long-awaited debut album as Route 8 was directly inspired by the Hungarian highway after which his artistic alias is named. It's one he has travelled many times over the years, hence his desire to create an album of "cruising music" that would sound good on journeys down the motorway. In practice, that means a fine musical excursion that blends warming deep house and futuristic Motor City techno sounds with elements of blissful ambient techno (see inspired opener 'Departure' and 'Arrival'), deep acid electro ('Nowhere', snappy closing cut 'This Far'), Pete Namlook style weightless ambient ('Interlude'), two-step ('4th Journey') and near horizontal synth-pop ('Tomorrow Comes Today'). The results are certainly ear-pleasing and rarely less than superb.
Review: James Thompson aka Warwick returns to the Lobster Theremin stable with another fine club-focused EP. The title track revolves around a heads-down, pulsating groove, underscored by warbling acid and peppered with ponderous vocals. On "What I Mean", Thompson opts for a somewhat different approach; instead of straight kicks, he deploys tight break beats to underpin the kind of effective acid builds that would make Hardfloor jealous. "Luchini Forever" sees him change approach again, with dramatic stabs unravelling over punchy drums and tight percussion, while he ups the tempo on "Knock" - the result is a galloping rhythm featuring powerful sub bass and euphoria inducing filters.
Review: Tim Reaper has been on an absolute tear recently, releasing on his own Globex Corp as well as founding Future Retro, and now, following releases on sublabels, he has his first EP on the Lobster Theremin main label. It's a perfect exemplification of his talent as a producer, as Tim moves from industrial breaks business into high-speed house and nonchalant, lounging break techno. Its title track is the heaviest, with nostalgic synths leading into a deeply fractious set of amens wrapped up in a veneer of 90s soundscapes and urban vibes. 'Sequence 2' is a slightly different sound than we've heard from him recently, as pacy 4x4 kicks drive through a wispy scape of undulating vocal notes and twirling synth touches. The final two tracks are more expert-level breaks business - Tim, we salute you. Bigups.
Review: Listening to Narciss' debut release for Lobster Theremin, it feels like the wave of 90s trance never happened. The German producer starts the release with "Diable Jambe", which comes across as a tough ebm-flavoured take on Harthouse material. "Sundowner (Body 2 Body Mix)", with its melodramatic melodic flourishes, sees Narciss opt for a more mainstream take on trance, while on "Detroit Smash" he delivers his own flawless interpretation of the grey area where the form coexisted with techno, thanks to the use of dramatic chord builds. Rounding off this distinctive EP is the acid-frazzled " Fragments Of A Language Of Love". which comes across as a slightly more benign take on Emmanuel Top's sound.
Review: Five years after his debut release, Sean Dodd aka Reflec returns to Lobster Theremin for a great follow-up. In the intervening years, he has put out material on the Clergy imprint, but this EP sees him mix up styles. The title track resounds to a rumbling jungle bass, while on "Wolf", searing acid and broken beats vie for the listener's attention. "Hiatus" sees Dodd up the pace to deliver a jittery, 303-soaked drum'n'bass track, while on "Chrysalis", he opts for a more playful approach, as vocal snippets and wobbly sound effects inhabit the percussive groove. Finally, "Orchid" sees Dodd slow down the pace for a more atmospheric cut.
Review: Lobster Theremin are one of the coolest labels around, with their reputation coming more from the house and techno side of things than from jungle, but the have a capacity for the diverse and Coco Bryce is flying that flag here. There's diversity even within this release too, from the rolling reece basses of 'Smoke Screen' to the pitched-up siren stutters of 'Blue Tile Lounge'. But it's the title track which reeally pinched us, with a floating vocal sample that simply shivers in delight alongside its roughshod jungle drums. Fantastic work from both label and artist here.
Review: Following from his recent Rave Memories release on Lobster Theremin, Rove Ranger returns to deliver a more visceral follow-up. "1998" starts off with a galloping groove, vivid chords and subtle vocal snippets. On the title track, he strips back any semblance of melody to lay down a pounding, jackhammer rhythm that is redolent of one the Advent's classic techno work. "In My Mind" ushers in a deeper sound, with sun kissed chords applied to a jacking groove, while he revisits the mid-90s for "Schaltkreis". It's a menacing, prowling banger that recalls the trance-techno intensity of vintage Thomas P Heckmann.
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: Hypnotherapy is Nthng's second album, and it underlines the fact that he's one of the most varied artists working in electronic music. On "50 Flower" and 'Beautiful Love", the Dutch producer delivers dreamy ambience before moving into the throbbing groove of "I Just Am', which also features care-free vocals and a clanging rhythm. "Heitt" sees him up the pace for a peak-time, tranced-out groove. However, throughout the release his touch is never rough or visceral - as the pulsating Detroit techno rhythm of "Wave Return" demonstrates so effortlessly. If you are looking for soulful electronic music with a distinctive touch, then you've come to the right place.
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: 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: 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: 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: 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: Having appeared previously on a compilation earlier this year, Softcoresoft aka Leticia Trandafir now makes her full debut. She gets off to an impressive start with the dark, tunnelling techno of "Meteor Shower", which sounds like Mike Parker on a bad trip. "Mycophilia" is similarly inclined, with Trandafir adding some eerie synths to the pulsating groove. It could pass for a more cerebral and indeed ethereal take on acid techno. She continues to ride the 303 wave on "Overstatement (Space Edit)", but on this occasion adds in spiky break beats, while "Social Compost" sees her go back to the dance floor with a tough, grinding workout.
Review: With a few albums and releases on labels such as Pinkman and Computer Controlled to his credit, Norwell aka Bal?zs Semsei is making a name with his grainy take on electronic music. That approach is brought sharply into focus on New Physics, his Lobster Theremin debut. "Base-1" unravels to menacing synths, while the title track and "Paradox Logic" are grainy electro funk tunes that feature blasts of analogue noise and tight, steely drums. "Motif" sees Semsei again focus on experimentation - this time thanks to his use of a murky wall of bass - while both "Humanoid Forms" and "Train To Inamuragasaki" mark a return to the grainy electro that prevails on this EP.
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: 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: Slacker returns to Lobster Theremin following his Amen To The Lonely release with this impressive four-track EP. The title track resounds to raw break beats and splurging acid lines, with ghostly samples playing out in the background. On "Next Time", he opts for a more electro-tinged approach, with steely snares and dreamy, futuristic chords prevailing. It makes for a clubby but musical sound. "Last Train to Sector 4C.31" follows in a similar vein: with dreamy synths and acid line belching out over rolling 808s, the combination is redolent of Lost Trax and Reedale Rise. "Journey Past the Clouds" is also influenced by electro, but on this occasion Slacker applies a more downtempo approach.
Review: Next up on the Lobster Theremin mini-empire is Shedbug, who debuted on the label last year and has since gone on to release on 1? Pills Mate. Hope starts off in raucous form with the robust acid breaks of "Aciidmuzik", before Shedbug takes a diversion to drop the morbid, ominous bass-led disco of "One Day Later". "Rubber" shows a more considered side to his canon as it veers off into esoteric, break beat-led deep techno, while on the title track, break beats also abound. This time they underpin mesmerising synths that take the listener back to the blissful trance of 90s acts like Legion of Green Men.
Review: Manuel Fischer's debut album wins this month's prize for most unusual title, but it shouldn't overlook the fine music contained within. With releases on labels like Ozelot and Drumpoet Community already to his credit, Fischer is using the album format to expand his vision. Loosely based around break beats, it veers from the warbling acid of "Sci-Fi Breaks From The Rabbit Hole" to the melancholic "Arni Driftking" and mesmerising, droning workouts like the down-the-rabbit hole tip that is "Enter he Void & Chill". While Fischer may have been categorised generally as a house artist - and certainly the lo-fi "Bin Chicken In Fitzroy" pushes in that direction - this is an expansive, out there piece of work.
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: 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: 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: 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.