Review: The digital offshoot of Exium's Nheoma imprint delivers a diverse release. "Deaxmade" sees the artist layer intricate, dense beats as a basis for surging, building chords. By contrast, both the title track and "Exo2" are reflective pieces, the lithe back beats and chiming melodies recalling early 90s 'intelligent' techno. However, Deaxmade quickly returns to the dance floor and "Hesic" is a dense, linear groove, interspersed only by one-note stabs and harsh broken beats. Rounding off the release is the best track, "Tesla". Like a mixture of dub techno and Rob Hood at his more introspective, heavy indistinct beats straddle a lithe rhythm and repetitive stabs.
Review: The latest release from Spanish producer Exium recalls the hazy, crazy days of the late '90s. Before it disappeared up its own behind, loop techno provided a genuinely thrilling possibility, one that Exium documents here. "96.1 Mhz" is led by juggernaut break beats and urgent sirens stuck on a loop for seven minutes. "Oppression" is similarly repetitive, but in this instance broken beats and a grimy bass provide the basis for Exium's approach. The second half of the release focuses on a more jarring, contemporary sound, best articulated by "M.A.D.", but this can't compare to the rolling, slamming bombast of "Electrictone". Radio is proof that when utilised properly, loop techno can be a powerful force.
Review: Some of underground techno's most respected names rework tracks from Exium's album. Jereon Search's 'Machine' remix of "Trashflow" is based on menacing, stepping rhythms and jagged riffs, while Inigo Kennedy's take on "Frontline" features similarly steely, austere riffs, backed up by cold bleeps. However, it's Spanish producer Oscar Mulero who scoops the prize for intensity; his combination of buzz saw bass, heavy, slightly distorted beats and churning chords on his version of "Time" will surprise even the most die-hard techno fan. By contrast, Nick Dunton's take on "Avoid the Ritual" is a deep, reflective jam, consolidating the UK producer's reputation as one of electronic music's most esoteric talents.
Review: Exium prove again why they are one of hard techno's most acclaimed acts. The title track is an adroit combination of styles, with a pulsing bass suggesting a youth spent listening to EBM and industrial and a similar stretch of time immersed in streamlined minimal techno. The Spanish duo manage to seamlessly facilitate this cross-pollination by deploying hissing percussion and a grimy bass. On "Recycler" they also succeed in executing a seamless blend of disparate elements with grainy beats and a raw, analogue bass supporting chiming chords, while "Ripper" is also based on an unusual interplay - this time gurgling acid gets cosy with dreamy pads.
Review: Spanish duo Exium depart from the well-worn industrial script on the latest release for their Nheoma label. Instead of broken beats and bombast, the listener is treated to blasts of white noise and resonating bleeps on the title track. That said, the duo manage to retain the interest of the dance floor thanks to their use of clicking percussion and robust kicks. On "Solar Masses", they apply a similar approach, underscoring their tonal frequencies with powerful sub-bass and steely hats. A return to the more conventional industrial techno sound is audible on Pfirter's version of "Subshell", where a rolling groove, punctuated by noisy drops, prevails.
Review: Reeko faces down techno duo Exium for a no-nonsense release on the pair's Nheoma label. Circuits is an inspired meeting of minds and features Spain's leading proponents of harder-edged techno (with the possible exception of Oscar Mulero). It's no surprise then that "Circuit IV" is all noisy metallic riffs, dense loops and gives off the kind of eerie, spaced out feeling one normally associates with all-night techno parties. "Circuit V" is just as intense and sees the trio drop a dense, noisy loop over a rolling, linear bass. Rounding off the release is "Circuit VI", which focuses on a slightly deeper sound, thanks to its eerie synths, but the same relentless, pumping groove is audible in the background.
Review: Two of contemporary techno's finest producers go head to head on Payback. Spain's Exium represents a clubby take on techno with his tracks "Diverse Population" and "Pulstar". The latter is a rumbling, cavernous groove lit up by acidic tones, while the former is built on tough tribal beats and a robust, meaty bassline similar to the one on James Ruskin's evergreen track "The Divide". Developer's contributions are far more visceral: "Promiscuous" is an insane, driving rhythm track led by ghoulish chords, while "Indigenous" is even more intense. Powered by distorted industrial drums, its cranium-splitting rhythms recall Jeff Mills at his most intense.
Review: Blistering techno from Exium and Gayle San on Spanish label, Nheoma. "The Mob 1" flashes glitchy sounds, bass stabs and piercing synths into one sound, while "The Mob 2" is a driving monster that never pauses to rest. Meanwhile "First Jump" is a paranoid sounding, twisted morph of the genre we used to call techno.
Review: Fresh from unleashing their excellent album A Sensible Alternative To Emotion on Oscar Mulero's Pole Recordings, heavy hitting Spanish duo Exium return to their own Nheoma label for this split release with Kwartz. The first of the two tracks by Exium is "Wolf Rayet", a tunnelling boom of cavernous techno, while the Jeff Mills inspirations come to the surface in "Fenomen", sounding like a heavier take on the Detroit producer's Something In The Sky series. Mario Campos' emerging Kwartz project proves to be just as impressive; "Sinapsis" maintains the industrial edge of the EP with more loopy, reverberant beats. "The Beginning of The End" sees a ghostly synth line sliced apart by the kind of forceful drums and smashing hi-hats that are synonymous with Speedy J's music.
Review: Hiroaki Iizuka starts this EP with the insane tempos of the title track. Sounding like Woody McBride jacked up on angel dust, Blue Box was probably made on analogue equipment, something that becomes apparent as the unpredictable sequencing gives way to wild acid lines. By contrast, "VC7" very much defines measured, controlled precision; based on broken beats and steely drums, its robotic swing is as impressive as the hard-sequencing unpredictability of Blue Box. However, the most impressive track here is label owner Exium's remix of "VC7". Moving from relentless broken beats into dark, metallic rhythms, its analogue percussive licks mean that the Spanish producer has adeptly united the best of both worlds.