Review: P-Ben cites Jeff Mills as the reason why he started to DJ, but it's clear that his affinity with Detroit techno runs deeper than that. The French producer released his debut album on DJ 3000's Motech label a few years back, and now he returns with a dance floor EP. "Under the Torii" is not entirely dissimilar to 3000's own sound, revolving around a rolling rhythm, dubbed out chord sequences and soaring, chilling strings. P-Ben delivers a darker take on this sound with "Kiganbun", where nightmarish chords and siren riffs build over a tough rhythm sequence. "Kaguraden" is a darker affair, with insistent bleeps, firing percussion and white noise filters combined, but on "Meji Jingu" he re-states his love of Detroit techno as soaring strings are fused with an acid-heavy rhythm. There's also a tougher, tribal take on "Under the Torii" from Mikael Klasson included on the release.
Review: Under-rated Detroit innovator Gary Martin is back. Not on his legendary Hypnotika imprint, rather DJ 3000's Motech which equally has been rather quiet of late. Who cares; they're here once again and in good form. The Robert Hood remix of "Well" is the kind of sure-fire, peak time cyclical treatment that this legend could lend a version to, but not of typical of him as you'd think.. It's great! The original (on the flip) is damn good too; a smooth and sleazy slow burner with enough atmosphere for those cool down moments. "We Get Down" is the usual sound of Martin; tribal and esoteric. The DJ 3000 remix getting possibly more minimal and soulful than the Hood remix heard previously.
Review: Detroit producer DJ 3000 shows his musical side on Hotel Oasiz. Instead of his typical pummelling percussive drums, he treats listeners to spacey synths and a pulsating electronic groove supporting the sensuous female vocal on the '12" mix'. The instrumental version offers pretty much the same arrangement, minus the vocals, while the beatless take focuses on the synthy melodies and angelic vocals. Alexis Tyrel's reshape is geared towards the dance floor with dense, housey beats and surging chords underpinning the sweet vocals, but Robert Hood's remix is the highlight. Layering the vocals until they turn into a hypnotic chant, the arrangement is subsumed by an evil acid bassline that's every bit as visceral as his minimal work.
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