Review: Adam Winchester's roaring output has taken the experimental scene by surprise. After all, there aren't too many UK artists who are delving into the darker, more deranged iterations of drone and noise. Appearing on the ever-impressive Osiris Music, Interferenza kicks off with the steely power electronics of "Surface", before dissipating out into the ether on "Terminal Transition", and the more mechanical "Resurrection Effects". "Figure Ground" bleeps and clicks to its own, oddly-balanced beat, and both "Blue Ghost Tunnel" and "Extant" duck deep down into the ambient quarters. What a masterful collection of sounds - highly recommended!
Review: Although credited to both Biome and label co-owners Kryptic Minds, this excellent two-tracker is really a showcase for the former's growing production skills. "The Raven", for example, is a solo Biome production. Built around an impressive combination of low-slung dubstep rhythms and spooky, twinkling soundtrack melodies, it sounds like it should be featured in a gritty British thriller, possibly at the moment the film's hero realizes one of his family has just been killed by a gang of Serbian nutters. "Hybrid", meanwhile, sees Biome deliver a particularly creepy reworking of a Kryptic Minds original. More obviously dubbed-out than its predecessor, it's nevertheless intensely likeable.
Review: Following releases on Black Sun Records and Candela Rising, promising UK techno producer Manni Dee gets seriously heavy on Simon Shreeve's (aka Kryptic Minds) Osiris Music. Manni Dee provides the label with three tracks, and the first, "Nicotine Kisses", is a rolling, but broken beat techno jam similar to Lucy's work before his Word Play For Working Bees album, while a bass rumbling but beatless "Man Is Free, Man Is Freedom" sounds similar to the cavernous sounds of Japanese duo Steven Porter. "Sister Nobody" is frenetic and beat down once again with Milton Bradley-like atmospheres only with a UK touch of sewer bass, while Monic (aka Simon Shreeve) throws down a syncopated remix that could also quite happily find a home on Perc Trax.
Review: When taken in its proper context, Dot Product's whole output seems to have gone from good to excellent over the last year or two. For an artist who was primarily releasing bass-filtered dance experiments, this new and adventurous direction is an exciting steps forwards. This new album for Osiris, named after what we can only imagine to be the year 2080, is a vast and complex piece that never really strays into the dance territories while still retaining a very definite sense of movement and energy. It sounds like the sparse planes of Mad Max, and yet there's something very alluring about all those shards of noise and field recordings coming together onto the same planet. This is an ambitious electronic LP that should not be overlooked by the demanding left field party.
Review: Not much is known of shadowy producers Dot Product, they hide behind the same veil of secrecy like most of the roster on Simon Shreeve's fledgling label. And that's all well and good so long as they're treading the same left hand path as others on the label, creating sinister and abrasive sound aesthetics. That they do and quite well. The album runs the whole gamut from chilling dark ambient soundscapes ("Ice Patches"/"Springs"), sinister sound design experiments ("Balloons"/"Animation") and even flat out power electronics like on "Atmosphere Processor" and the aptly titled "Extremis". Not for the faint of heart and handle with extreme caution!
Review: Matthew Watt aka Killawatt drops his debut LP on the UK's Osiris Music. Gnarly, psychedelic techno is the name of the game here, and there's a whopping twelve tracks up for grabs. Blending everything from UK bass to dubstep and even drone, Killawatt's particular brand of four-to-the-floor is both singular and caters to just about anyone whose into menacing beats and abstract sonics. We're particularly into the choppy beats on "Spinal Swarm" and the outsider techno rhythm that is "Excessive Hyperbole". This album is absolutely brimming with quality and singularity. More from Mr.Watt, please!
Review: Killawatt continues his long relationship with Osiris with this remix release. Bringing together some of the most respected names in left field techno, the release starts with Tommy Four Seven's version of "Zizi". Chiming bells and rickety broken beats provide a hypnotic combination that creates a haunting, ghostly mood. Eomac takes a darker tune on "Spiral Swarm", where robust beats and tick tock percussion provides the basis for swirling textures. Monic's take on "Excessive Hyperbole" sees rugged broken beats underpin eerie textures. Finally, Mannic contributes his own track, and as its title suggests, "Untitled Textures" features mysterious sounds flowing over a rolling, off-beat rhythm.
Review: Osiris Music UK head honcho Simon Shreeve returns with some more of the same brutal slabs of noise he fast become renowned for. "Contort" channels the same vibe as its coincidental namesake, Samuel Kerridge, with its sludgy downbeat techno of relentless sub bass and sinister atmospherics. The body bashing broken beat of the affectionately titled "Flustercluck" is pure sonic ultraviolence, plain and simple. Lastly "Gutter" is an unashamedly sadistic soundtrack for BDSM clubs. Listen at your own peril.
Review: As hinted by their previous outings on Osiris, Krypitc Minds have definitely been bitten by a techno bug recently. Good for them; beat patterns don't come much more refreshing than the one on show on "The Divide". Steppy, insistent and utterly unforgiving, their newfound loop mentality works a treat when presented in a dubstep ideology. "Rule Of Language", meanwhile, is quintessential Kryptic Minds; a deep, sonorous halfstep beat arrangement and abyss-like spacious groove are the flavours of the day... Purist dubstep aimed directly at the darkest of nights, it's the perfect foil to the experimental vibes of the title track.
Review: Wow, when we saw this we couldn't quite believe it as the legendary Kryptic Minds unleash an unexpected gift, remastering two of their original classics with a bit of a 2020 paintjob. Firstly, we hear 'Badman' get the newschool treatment, a groundbreaking original that combined gut busting sub basses with a grizzly mid range LFO synth to send dances into frenzies around the world. Next, 'Distant' receives a similar makeover, with this one focussing much more on intricate drum delays, unpredictable vocal influxes and subtle sub warbles. Two absolute classics, made even greater than before, courtesy of Osiris Music UK.
Review: Stepping up on Kryptic Minds' own imprint, Osiris Music, Matt U brings us a suitably deep, dark offering. "Empty Inside" is full of brooding melancholia and withheld angst; hollow, clip clop beats and a rumbling vocal echo bleakly in a dubbed out soundscape full of trembling subs and deftly placed beats. The accompanying "Unforgiven" continues the journey with a more yearning feel, the squealing SFX and warping atmospherics hover above the b-line eerily. Deep and hypnotic, this is a fantastic offering from Matt U. One for the heads.
Review: Osiris Music boss Simon Shreeve is back under the Monic guise, after recent appearances for Tresor and Downwards: the latter being a similar label, aesthetically, and exploring the outer limits of modern industrial, techno and noise. On "Deep Summer", Shreeve has really found another dimension to his sound: going less for the jugular like his recently harsh textural abrasions. This sombre and bittersweet ambient journey is kept pace by subtle, reverb drenched beats and hypnotic waves of metallic noise: all the while accompanied by angelic vocal passages. And let's not ignore the elephant in the room here: yes, there is a remix by the one and only Burial. His rendition was not what we were expecting, but captivating as always. Let's just say that this ambient house odyssey is the perfect accompaniment to a Lynchian styled island dream.
Review: Fresh from his appearance on Osiris's in-demand reissue "Habits", Monic rolls out a barrel of freshness with Donkey Kong proportions. Whether it's intended or not, the human patterns are evident in each track... The techno-flavoured "Blood Hound" pumps like a pre-fight heartbeat, all palpitating and turbo charged with nervous energy, the half-tempo flurries of "Blink" resemble an inquisitive human hand, exploring mysteries in the darkness while the human pattern in the slower, steadier "Viscous" can be likened to a cagey walk in an unknown neighbourhood at darkness. Finally we hit the title-track where the pattern is far less tangible; kickless and never endingly rising, the hazy, foggy pattern here is best compared to the strangest of dreams. Deep, undulating and full of techno science, Monic's served a delectably dark sonic tonic.