Review: A Sagittariun has made it his mission to release distinctive dance music, and he continues that journey with Strange Brew. Opening track "The Mind Blanks At The Glare" is a wonderfully woozy break beat track, smothered in warbling acid and featuring evocative keys. "Don't Look In The Freezer" sees the UK producer venturing once again down an unexplored path - rave samples and dubbed out chords are combined with trippy 303s to create a mesmerising track. Rounding off this release is the aptly named "Cosmic Trigger": more dance floor-focused than the other tracks, its tingling melodies and growling bass mark it out as another idiosyncratic A Sagittariun jam.
Review: To mark the two hundredth release on Rekids, Radio Slave has teamed up with the legendary DJ Hell for a new project, Radio Hell. Given both artists' history and experience, it's no surprise that the release is distinctive. The title track is a jacking affair that takes influence from Steve Poindexter's gritty rhythms but then adds droning textures and a robotic vocal sample to the equation. On "Lost Souls", the pair's deep knowledge is to the fore again, with a bubbling groove underpinning blissed out Detroit synths and murky vocal samples. Delivered with artwork from Alan 'DJ T 1000' Oldham, this release is unmissable.
Review: Matt Edwards aka Radio Slave is back, and his latest release on REKIDS is a new project with Berlin by way of New York City electroclash icon Larry Tee as The Royal Academy Of Fierce, who serve up the driving and hypnotic ballroom energy of "Fashion Queen" with vocals by Justin Vivian Bond (Kiki And Herb, PantyChrist, and more vogue referencing motifs are featured on the steely stomp reduction of "Black Pussy's Revenge" where the veteran producers team up with with Tee's longtime collaborator Tobell Von Cartier.
Review: Mark Broom is on a roll with his Rekids releases, and this EP provides a taster for the incoming follow-up album to 2021's Funfzig. "100% Juice" (Sampler mix)" is a peak-time affair, with Broom fusing dramatic organs and intense thunderclaps over a driving rhythm for maximum impact. "Contigo" is deeper but still club focused thanks to the combination of rasping percussion with warm, Detroit-style synths, while "Nod To The D" explores this sound in closer detail as Broom deploys a bubbling bass and soaring melodies for a truly uplifting piece of Motor City-inspired techno. He returns to more stripped back dance floor territory for "Spiked", a raw analogue workout led by tough drums and frazzled synths.
Review: Stay Out All Night is Radio Slave's 2020 musical paean to the pleasures of raving back in the day, so who better to rework it than Carl Cox. In a rare remix outing, the dance music veteran stays close to the original, but adds in hypnotic horn stabs, repetitive vocal samples and rolling break beats. Interspersed with vinyl spin-backs, Cox's version is sure to have cross-generational appeal, including the ravers who grew up with his DJ sets, right through to those who have just been introduced to him thanks to this remix. There's also a fine, rolling drum'n'bass reshape included from Metalheadz legend Commix.
Review: Ian Pooley has consistently brought a techno element to his music, going back to mid-90s records like Twin Gods and Chord Memory - so it's no surprise to hear him wield this influence on Studio A Pt 2. The follow up to his debut for Rekids last year, it sees Pooley deliver a tracky release. "Jv Organ & Matrix" resounds to a hail of insistent synth lines and brooding vocals, while on the second version Pooley puts a focus on dense chords and steely percussion. Meanwhile, "Back Up" is a gritty, tweaked jacking track in the Relief mode, while Pooley reverts to a somewhat deeper sound on the acid bleeds and frazzled synths of "101202".
Review: As its title suggests, Josh Wink's first solo release on Rekids takes inspiration from Detroit, the birthplace of techno. Featuring solid kicks and firing percussion as the basis for the title track, the Ovum boss lays down layer upon layer of melodic chords; textured and dreamy, their majestic flow recalling the work of deep techno pioneers like Carl Craig and Aril Brikha. In stark contrast is "May Minimal"; the track's pitch-bending percussion and relentless rhythm provide the backdrop for Wink to drop a series of frequency shifting tones and bleeps that sound like a modern-day take on Motor City techno minimalism.
Review: Following on from Eps for Unknown to the Unknown and Spandau20, Niklas 'NIKK' Liepe debuts on Rekids. Paradize is a heady affair; the title track is powered by hammering tribal kicks but also features sun-kissed synth melodies that call to mind the halcyon days of rave and the euphoric rush from that period. "Mylove" is led by a throbbing bass and high-pitched vocal samples, while on "Flakes" Liepe's penchant for drawing on old school influences is audible again, with the German producer fusing hardcore stabs with evocative vocal samples. In keeping with this approach, closing track "Give A Funk" also uses vocal snippets from the 90s; combined with a relentless organ riff and raw kicks, it makes for another wide-eyed track.
Review: This is Confidential Recipe's third release on Rekids, and it sees him draw on classic house, techno and rave influences. "Dance" is redolent of Bobby Konders' vision for house, as a dark organ is combined with insistent stabs and a looped vocal sample. It's the kind of track that is tailor made for small, sweaty basements. On "Come (dub)", the Colombian producer ups the tempo; layering chiming chords over a driving steely rhythm, while he teams up with Manao for the original version of the track. Led by crashing break beats and featuring hoover stabs, it's a celebratory if somewhat nostalgic affair.
Review: Dustin Zahn follows his recent Feed the Fire release on Rekids with his second artist album. As befits a producer who has been making techno for close to two decades, this is a diverse, expertly weighted work. Both "Tell Me About Paradise" and "Lucid Dreams" are insistent, firing grooves that resound to steely percussion, and blasts of Midwest synths. Meanwhile "Tangie Groove" is a looped house track and "Smoking In Silence" sees Zahn go farther down this route, as vocal samples are melded with insistent stabs. "Days Like These" draws on Detroit techno influences with Zahn deploying spaced out pads over rickety drums, while in sharp contrast, "Shark Rodeo" is a slamming peak-time affair, led by wave upon wave of filters.
Review: Dustin Zahn is releasing an artist album on Rekids, and ahead of that event, he drops this incendiary EP. The title track is a driving slice of analogue techno whose roots lie in the 90s Midwest sound. While "Heresy" also centres on a raw rhythm, on this occasion the style is less intense, with Zahn dropping a series of hypnotic bleeps over rough kicks. The US producer returns to a more intense approach for "Profane Purposes"; there, insistent acid blips and repetitive vocal snatches unfold over a jarring backing track. In contrast, "Golden Hour" is deeper and more mysterious, with a tapestry of eerie synths bringing the release to an esoteric finale.
Review: Matt Edwards dives deep into the early 90s on the title track of his latest release. The doubled-up claps and jacking rhythm of "Acid Dip" teem with Sound Factory-style squeals and laser beam rave riffs, with Edwards providing muscular, grungy bass to support the combination. Meanwhile, on "Armani", the Rekids boss pushes in a different direction: centred on a frazzled, pulsating bass, the arrangement sees him blend steely percussion with dense, textured layers, muffled vocals and acid blips. It may not be as intense as the work of the Chicago producer referenced in the title, but "Armani" will still have a devastating dance floor impact.
Review: Following on from a series of releases on Prah, Raven Bush delivers a distinctive release for Rekids. The producer's multi-instrumentalist approach comes to the fore throughout this release. On "Nobody", this manifests itself through a combination of a driving rhythm, dubbed out drums and plaintive vocals. Meanwhile, "Cold Sweat" sees Raven opt for a darker approach, with siren riffs cutting through a pulsating, acid-soaked groove and a series of detached vocal samples. Changing direction, the Comedown version of "Cold Sweat" deploys rolling break beats and brings acid pulses to the fore, while the Sudden Urges remix of "Nobody" also uses robust breaks as the basis to turn Raven's original into an ethereal version.
Review: Despite being active since the early '90s and chalking up a sizable discography that includes singles on all manner of acclaimed labels (think Force Tracks, NRK, V2 and Ovum Recordings), Ian Pooley has never before released music on Radio Slave's Rekids imprint. Predictably he's brought the goods on Studio A Pt. 1. He begins with the chunky weightiness of 'Basic Juno', where echoing synth sounds and tight electronic riffs ride a dubby bassline and hypnotic late-night drums, before opting for a more expansive and dreamy sound on the equally impactful, acid-flecked 'Close Your Eyes'. Fittingly, Pooley finishes with a flourish via '303 (2 Bars)', a fine fusion of melancholic, early morning deep house and jacking, off-kilter Chicagoan acid.
Review: As expected, Rekids has assembled a crack team of remixers to put their stamp on Jerome Sydenham, Fatima Njai and Mario Punchard's brilliant Afro-house-goes-electro cover of Kraftwerk's 'Trance Europe Express'. Gerd Jansen steps up first, delivering vocal and instrumental takes that brilliantly re-imagine the track as a Moroder-influenced, retro-futurist disco-house treat (think sequenced bass, Chic-style guitar licks, punchy drums and sweeping synth-strings). Naturally, Ricardo Villalobos takes a totally different approach, crafting a wonky-but-bouncy new rhythm out of Punchard's percussion and his own medical-grade kick-drums, before adding all manner of mind-mangling noises. It's one of his funkier reworks of recent times, but still formidably out-there and unusual. That's a great thing, by the way - it's a hugely impressive rework.
Review: As its title suggests, Robert Hood wrote the blueprint for minimal techno, and this pioneering approach is evident throughout his latest EP. "Chroma Light" is vintage Hood, with the Detroit innovator fusing a looped organ riff with a sleek, linear rhythm. "The Majestic (Deeper Edit)" leans more towards Hood's Floorplan style, as incessant percussion powers a dynamic rhythm track. Meanwhile, on the original version of "The Majestic", he deploys dramatic chord sequences with razor-sharp hi hats and vocal snippets to create a more menacing sound. Rounding off this fine, harder-edged release is "Ultrasonic Room", which teems with jittery percussion and ominous, swirling synths.
Review: Following on from his recent Fast Funfzig EP on Rekids, Mark Broom now unveils a superb album for the label. Drawing on a range of styles and sounds, it sees the veteran producer deliver house music in the form of the organ-led "Mover" and disco-sampling, good time vibes of "We Gonna Dance" which features Ella Fleur's uplifting vocals. However, this isn't a case of Broom mellowing out with age/. The album is peppered with straight up bangers like the dynamic, filtered "Let's Roll" and the epic builds of "Memories" that sit alongside crisp, minimal grooves such as "EFX" and more experimental jams like the stepping "Stark" and the evocative shanty of "Dub Me Good".
Review: Mark Broom draws on his own rich back catalogue for the opening tracks on Fast Funfzig: with their rumbling bass tones, swirling synths and hypnotic tribal drums, both "Fingers" and "Slow" draw on the raw techno soul that pervaded his 1996 debut album, Angie Is A Shoplifter. Meanwhile, "Wild Style" sees him embark on a different route; led by a spiky electro rhythm and an ominous bass, the veteran techno producer weaves vocal snippets into the woozy arrangement. On the final track "Facteur" Broom goes deeper, with hollowed out drums providing the backdrop for a tapestry of dreamy melodies that flow and ebb elegantly.
Review: Like many of his contemporaries, Joaquin 'Joe' Claussell quickly became bored during NYC's first Covid-19 lockdown last year, so used the time to craft Raw Tones, his first solo album for nigh on 13 years. The set is built around weighty analogue basslines and vintage-sounding drum machine rhythm tracks, with Claussell frequently adding melancholic piano solos, his own spoken word and improvised vocals, and flashes of the African and Latin-inspired percussion sounds that he's long been known for. It's. ahugely successful formula, with highlights including the similarly sleazy 'Break Free' and 'You Mutha Fucka', the sunrise deep house beauty of 'Way Back Then', the sweaty and cymbal-heavy 'If It's All In Your Kind Let It Out' and the slo-mo sweetness of 'Hallucination Ejection'.
Review: After releases on Permanent Vacation, Classic and Crosstown Rebels, Berlin-based American Alinka (Fantasy Life) is up next on Radio Slave's esteemed Rekids imprint with the Universal Motion EP. The tripped-out Italo style chug of the title track leads into the hypnotic tribal house journey of "Emotion To Emotion" and ending with the neon-lit night drive of "Reality Love". The Universal Motion EP shows the ex-Chicago DJ at the top of her game, and certainly one of the best names in the world of house, disco and techno at present.
Review: The title of Hybrasil's latest release is named after the mythological race that were said to inhabit Ireland in pre-Celtic times - and there are references throughout this EP to the supernatural. The title track is a grinding, peak-time affair that features dissected vocal samples amid its pounding rhythm, while on "Hill of Tara", Hybrasil teams up with singer Sarah McQuillan to deliver a lean club track that features her ghostly, spellbinding wails. "Portal Dolmen" and "Megalith" meanwhile see the Irish producer focus on the physical rather than the ethereal, with churning chords unfolding over driving rhythms, while "Bealtaine", the Irish for May, is a deeper, dubbed out techno track.
Review: On paper, Kraftwerk's 'Trans-Europe Express' is one of those foundational records that you really shouldn't miss with. Yet legendary NYC Afro-tech/Afro-house producer Jerome Sydenham, frequent collaborator Fatima Njai and percussionist Mario Punchard have decided to do just that, adding the famously spacey synthesizer melody and foreboding male vocal snippets atop a richly percussive Afro-house groove that's as infectious as the latest COVID variant and three times more potent. It comes in two relatively similar forms: the instrumental mix (track two), and the superior 'Vocal Dub Version'. Both takes are heavy, high quality and will sound dope in the mix.
Review: It's quite a coup for any producer to release their first record on Rekids: the fact that Necessary also features remixes from Detroit legends Scan 7, Terrence Parker and DJ Bone makes this release all the more impressive. In its original format, "Necessary" is a deep, swirling groove, featuring plaintive vocals and a bumping low end. Bone's version retains the vocal but beefs up the rhythm, while Terrence Parker's take sees him deliver a organ-led house groove with a truly celebratory feeling. Rounding off this exemplary release is Scan 7's remix: led by a snaking bass and clanking, metallic percussion, it progresses to reveal mesmerising synths.
Review: For the second set of No Filter remixes, label owner Matt Edwards aka Radioslave takes on Faraone's "Addiction". This new version draws on grating synth stabs and a jacking, insistent rhythm. Combined with relentless percussion and a series of deft drops, it's tailor made for peak time use. The label has also tapped Gene Richards Jr, who has released on Faraone's Uncage, to remix "Frog Face" - and his version inhabits a similar space as the Radioslave remix: led by a firing groove that's populated by chopped up vocal samples and tweaked tones, it's sure to cause dance floor mayhem when clubs re-open this summer.
Review: A Sagittariun is best known for his psychedelic take on techno for labels like Craigie Knowes and his own Elastic Dreams imprint, but on this debut for Rekids, he changes tact. Opening track "Inner Frontier" sees him drop a dense, rolling groove, with only the arrangement's airy melodies hinting at the UK producer's signature approach. Meanwhile, on "Annihilating Rhythm", he ups the ante to deliver a metal-plated rhythm that resounds to spaced out filters and gritty analogue sequences. Meanwhile on "Timewave", he drops a stripped back, angular drum track that provides the basis for haunting keys and frazzled acid lines.
Review: Anika Kunst is a relatively new artist with just a few releases so far, but she demonstrates considerable prowess on this debut release for Rekids. The title track is a brooding affair that resonates to swirling chords and powerful kicks, while on "Tales From The Loop", she ups the pace to deliver the kind of layered, menacing techno that one would normally associate with Floorplan. In contrast, "Prism" is deeper, with Kunst dropping a rolling, dubbed out groove that's underpinned by insistent percussion. She returns to the peak time for "Constant Change", a dense tribal track that will appeal to fans of Mark Broom and Ben Sims.
Review: Rekids has recruited to two very high-profile producers to contribute interpretations to the first remix package from Faraone's 2020 No Filter album. Chris Liebing, best known for running and releasing on the CLR label, is given "No Drama" to rework. In his hands, it morphs into a mysterious, rolling groove that underpins mysterious synth hooks and has echoes of Detroit techno. Mathew Jonson gets the same track to remix. Favouring a more stripped back approach, he drops a complex rhythm that acts as the canvas against which he conjures up atmospheric synths while in the background, the faintest echo of a vocal sample is audible.
Review: Matt Edwards casts his eye to Latin America for the latest Rekids missive. While Confi-dential Recipe may be a new name, he cooks up a very tasty two-track EP. "'What You Think" is a superb piece of stripped back techno, revolving around a minimal rhythm un-derpinning a repetitive vocal loop. Like the most impactful techno, its simplicity is its most powerful weapon. "Drill" follows in a similar albeit slightly more intense vein - drawing on the influence of Luke Slater's Planetary Assault Systems sound, the Venezuelan pro-ducer's use of building metallic riffs and deft drops make for an impactful combination.
Review: Following releases on Feel My Bicep and Unknown To The Unknown, Cromby surfaces on Rekids with this fine four-tracker. "IXP-42" is a fine old school techno track, moving from subtle bleeps into a rolling snare-led analogue rhythm that takes influences from 90s labels like Djax. "Follow the Bass" is more frenetic, with Cromby laying down a snaking groove and layer upon layer of frenetic percussion. On "Relief", it sounds like the emerging producer is taking inspiration from the label of the same name to drop a primal, jacking track featuring a flirtatious vocal, while on "Vortex", he opts for a slightly more measured approach, but still deploys stomping drums and raw analogue stabs to devastating effect.
Review: Mark Broom returns to Rekids with a release that's tailor made for dance floor use. Mutated contains eight tracks, with each one clocking in around the three-minute mark. Designed specifically for DJs to get busy with in the mix, these pieces range in style from the high-paced, Rob Hood-style minimalism of "Changing" and "Form" to tracks like "Marker" and "Stranded", whose frenetic rhythms and building chords have echoes of classic Technasia. There are some deeper tracks too, with the chord-heavy "Mutate" standing out, but no matter which direction he pushes in, this release captures the veteran producer in peak-time mode.
Review: Spencer Parker delivers his most distinctive and accessible release to date. The title track draws on 80s influences, including a pulsating Italo bass and electric piano keys, making for a dance floor groove that eminently hummable. Parker continues to draw inspiration from that decade on "Radio Waves (After Dark)"; featuring a repetitive vocal sample and snappy drums, this lean, linear affair also benefits from a throbbing bass. Meanwhile, on "The Work Out", Parker delivers a stripped back rhythm that provides the basis for a gloomy synth line that recalls New Order at their most pensive. Reflected through Parker's prism, it makes for a fresh approach to techno.
Review: Having kept 2020 clear for the release of a debut album on REKIDS - Converge Part 1 - Jon Hester states his territory on the label in 2021 with its counterpart - Converge Part 2! The Chicago-born, Berlin-based transplant has had a good run in recent years following a succession of releases with the likes of Deeply Rooted, Transmat and Dystopian, with this LP adding another gold star to the techno producer's vintage yet futuristic sound. Heavily modelled on faster Detroit-styled techno with a touch of Chicago soul (best heard through the LP's melodies and synthwork in tracks like "Instant", "Contact" and "Wonder"), get your dubbier and percussive sessions from "Silver" to the broken beat drums in "Shadows" and minimal warehouse vibes of "Artificial Intelligence". Jon Hester is: Converged.
Review: Alan Fitzpatrick is a busy man, and Immortal Daydream follows a flurry of releases on Drumcode, Hotflush and most recently, Rekids itself. This four-tracker sees the UK producer do what he's best at and delivers impactful club techno. "Everlasting" is shot through with dramatic stabs and underpinned by steely thunder claps, making for a powerful dance floor track. "Titan" also sees Fitzpatrick deploy musical elements - on this occasion it's a repetitive organ riff over a combination of relentless kicks and driving hi-hats - while "Droid Disco" marks a departure in style, with Fitzpatrick going deeper to deliver a seductive cacophony of tonal frequencies over a dubbed out groove."The Underdog" presents a further surprise, as the We Are The Brave boss deploys rich chords and crashing snares to deliver his own take on Detroit techno.
Review: The latest instalment on Rekids is a barnstorming affair from UK act KUSP. "Circulus" is a peak-time banger, centred on a jacking ghetto techno rhythm and the kind of wild analogue builds that Luke Slater deployed on his evergreen remix of Joey Beltram's "Forklift". "Fictus" is just as forceful, with KUSP dropping razor-sharp hi-hats and wild rave stabs over pounding kicks. The title track sees the intensity taken down a few notches; led by a series of thunderclaps and dramatic drops and builds, it's as effective as the previous tracks. "Troubadour" sees KUSP keep the pressure up, with a dubbed out backing providing the basis for chopped-up vocal samples.
Review: Following on from his evocative, at times rave-tinged material in 2020, Radio Slave returns underground for this heads-down EP. Similar in style and approach to the recent Floorplan material on Rekids, this four-tracker is punctuated by robust bass drums, spiralling chord sequences and militaristic percussion. "Variations V1", with its ticking hi-hats and doubled up claps, gets the EP off to a rousing start, while on the "V2", Matt Edwards takes the intensity down for a broken beat affair that has echoes of Fachwerk's catalogue. It's only a brief reprieve, however; "V3" is a storming affair, led by billowing chords and dense kicks, while the fourth and final version resounds to ominous synth stabs and niggling percussion.
Review: Following releases from Hemka, P.Leone, Shinedoe and SRVD, Rekids' sister imprint returns with more of its 'grittier, fully techno focused remit.' This instalment in the Reduction series belongs to Brazilian producer Marcal, featuring five powerful cuts in the vein of his contribution to the series' last volume. Hard hitting and hypnotic minimal techno in the vein of Robert Hood can be heard on "Sentinel" and "Rolling Sway" respectively, equally mesmerising is the heads down, peak time energy of "Jackie" and finally Marcal teams up with homeboy Alex Justino on the drum-driven percolator jack of "This Body" making for another great DJ tool.
Review: Theo Nasa has previously released material on Andy Blake's World Unknown, Suara and his own Alien Sound Trax imprint, and now brings his distinctive techno sound to Rekids. "Dubska" is a relentless, dub-fuelled roller, while on "World Dance", Nasa embraces breaks and bowel-busting sub-bass to deliver a wild rave workout. "Summertime Raving In London" is less frenetic, but deploys a powerful bass at the heart of its driving rhythm, while its evocative melodies will strike a chord with anyone who has partied in the UK capital. Despite its title, "Ninja Tune" has little to do with the label of the same name, and sees Nasa fuse bruising kicks with a ragga-style vocal sample. Rounding of this fine EP are the out-there 303 shapes of "Gabrielle Gabacid".
Review: Robert Hood follows his recent Nothing Stops Detroit debut on Rekids with a full-length artist album. It shows that when it comes to delivering linear dance floor techno Hood has few peers. This talent is audible on lean tracks like "Fear Not" and the pounding kicks and soaring chords of "Falling Apart". But Mirror Man also shows that within an album format. Hood is not afraid to cast a wide creative gaze. "Through A Looking Glass Darkly' and "A Shattered Image" are chilling electronic soundtracks, while on "System of Mirrors", the Detroit veteran drops a hypnotic slice of techno that resounds to a throbbing bass and waves of frazzled percussion.
Review: With records for Ovum, Pets Recordings and REKIDS of late, Mathias Kaden's quintessential festival sound makes it back to Radio Slave's label following last year's Liberate Drums EP. Delving into synthy, dub techno territory with "Substance" (DJ Pete we hope you're watching), the rest of the record finds itself rooted in classic strands of bigger room Detroit techno and European minimalism, alongside a touch of electro and industrial synth wave in "Control Your Mind" - thinned down and stripped back by Marcel Dettmann's remix. Littered with tougher elements of rave and banging tech house alongside solid bassline progressions in "Conviction" and "Anticipation" too, Mathias Kaden helps us remember what it's going to be like when festivals resume once more. Downloaded for Richie Hawtin!
Review: Ahead of a new album, which is due out at the end of 2020, Robert Hood delivers this blistering debut for Rekids. The title track revolves around a heavy, rolling bass and dubbed out drums, the perfect opening track for this dance floor EP. "7 Mile Dog" sees Hood up the pace and intensity levels, as a looped chord is fused with pounding kicks and a frazzled bass to create an intense peak-time track. "Ignite A War" resounds to a steely rhythm and a pulsating bass, with the veteran Detroit producer lacing the arrangement with insistent stabs for maximum impact, while on "The Cure", Hood drops a pile-driving track that centres on pounding kicks.
Review: Continuing in a proud tradition that stretches back two decades and includes artists like Anderson Noise and Renato Cohen, Marcal delivers a killer Brazilian techno EP for Rekids. Reduction Pt 1 follows his releases on Phobiq and Sam Paganini's JAM, and shows why this emerging artist is gaining recognition: "'Ainozama" is a fast-paced tribal roller laced with rave stabs, while on "Cherry On Top", he goes down a deeper route, with filtered chords and ticking percussion unfolding over a lithe rhythm. "Heart Race" sees him head down the kind of dense, bleeps route that Sleeparchive and Mike Parker usually inhabit, while on "Estado de Transe", a collaboration with Andc and Gabal, Marcal effortlessly straddles the tribal and minimal dimensions with considerable aplomb.
