Review: Issued on Running Back's Incantations offshoot, A Sagittariun's latest album is a diverse affair. While it features the kind of tripped out techno that this producer has become synonymous with over the years - check "Watch The Skies!" and "Life Is The Illusion, Love Is The Dream" - it also boasts off-centre tracks such as scuffled industrial funk of "Once Upon A Time" and "Last Of The Crazy Baldheads". Heights is also notable in that it features tripped out jams like the cosmic-disco of "Lazer Battle At The OK Coral" and "Dream Stealers" as well as the broken beats of "Version Excursion". It shows that A Sagittariun is a more rounded artists that some of his club releases may have suggested.
Review: It's well known that Morgan Geist started his career as a techno producer, but what isn't so widely known is that his Metro Area partner Darshan Jesrani did too. One of his earliest projects was Acronym City, who debuted way back in 1996 with the Powermoves EP. This tasty Running Back reissue begins with a fine edit of the title track, a 136 BPM techno roller rich in deep house stabs, lilting lead lines, driving drum machine percussion and futurist, Motor City electronics. Elsewhere, we're treated to two cuts from the original release: the brilliant, Detroit style "Powermoves Remix" by DJ Sprout- think blissful sci-fi brilliance, and you're close - and "The Push", another dreamy, electro-tinged techno workout rich in dreamy motifs, spacey electronics and bustling percussion.
Review: Alan Dixon has been in tremendous form of late, delivering must-have EPs for Midnight Riot and, most recently, Lumberjacks In Hell. There's no doubt that this outing for Running Back - produced in cahoots with regular Ashley Beedle collaborator Darren Morris - is his most high-profile release to date. It's also rather good, particularly the glassy-eyed Italo-disco muscularity of "La Danza" - all driving arpeggio-style bass and mind-altering electronic motifs - and the solo-laden, mid-tempo Balearic house brilliance of closing cut "Star Dance", which sounds like something Phillip Lauer might conjur up. There are two real standouts for us, though: the driving, 1989 style piano house rush of "Moments" and the colourful, beat-free bliss of sunrise-ready bonus cut "Ambient Braindisk".
Review: Recently, Gerd Janson has been using Running Back not only to release new material, but also reissue some of his favourite old house and disco cuts. He's at it again, here, re-releasing Alex M's It Works, a relatively obscure Mateo & Matos production that initially appeared on Final Cut back in 1992 and has since become something of a sought-after item. The title track remains a near perfect fusion of Larry Heard style deep house dreaminess and the rhythmic swing of New Jersey garage. You'll find a similar blend of dreaminess and low-end hustle on the two versions of "Without Thought", while "Lakeside Slang (First Mix)" peppers a tidy groove with impeccable electric piano solos and hazy vocal samples. Arguably even better is the jazzier, Jovonn style "Lakeside Slang (The Mix)".
Inspirations From The Mental Realm - (16:36) 68 BPM
Variation On A Pentatonic Motion - (11:41) 108 BPM
Menetekel - (2:21) 82 BPM
3C 123 - (19:26) 80 BPM
Yin-Yang - (5:00) 111 BPM
Rhythmic Desert - (5:54) 90 BPM
The Quantum Jump (Bonus) - (18:03) 110 BPM
Review: Andreas Grosser was considered an underrated hero of German synth music in the early '80s and based off only a couple of albums - a collaboration with Tangerine Dream/Ash Ra Tempel's Klaus Schulz in 1987 and of course 1981s Vinite Visum, that's reissued here on Running Back. All tracks were composed and performed between 1976 and 1980, when the East Berlin synthesist was inspired by the West German cosmic scene. He was rumoured to have made many hours of music, which he duplicated to cassette recordings for anyone that wanted them. Presented here is a collection of psychedelic ambient oddities, conjured from celestial synth sounds and other assorted classic machines.
Review: Here's something of a surprise: an EP on Running Back jointly produced by veteran German house producer Boris Dlugosch and rising star Cassara. The inter-generational duo has put together a set of tracks that veers closer to Italo-disco and cheery Balearic goodness than the funk-fuelled peak-time house that Dlugosch is often associated with. Our highlight is probably "Nightflight", a pleasingly baggy concoction that wraps alien melodies and vintage synthesizer motifs around a sparse drum machine groove. That said, opener "Traveller", which sounds like a cross between Electra's 1982 classic "Feels Good (Carrots & Beats)" and lightly bouncy house, and sparkling Italo-disco-meets-Daft Punk throb-job "Intervox" are also rather good.
Review: In the 22 years that have passed since he made his debut, Deetron has released music on an eye-watering number of high quality labels. It's somewhat surprising, then, to find that this is the Swiss producer's first outing on Running Back. It is, of course, very good, with snappy opener "Body Electric" - an ear-catching fusion of crunchy house drums, jazz guitar loops, toasty disco bass, sweet synth lines and rushing piano riffs - leading the way. "T-Symmetry" sees Deetron add bustling breakbeat blasts and more bold piano motifs to a surging future Balearic techno anthem, while "Txt" is a melodious chunk of spacey techno hypnotism rich in rising and falling synth lines and swirling chords. Those glassy-eyed synth lines and alien electronics can be admired further on the accompanying "Beatless Mix".
Review: According to Gerd Janson, "Gordon" is one of those records you hear out loud in a party and fall in love with instantly. Made one day before Miami's infamous Rakastella party, it was a particular track he hoped to snap up for release on Running Back - as it was one of the highlights during a shared slot with the Life & Death head honcho. The much lauded Atmo version is the typical style of moody dancefloor drama you've come to know from the famed Italian and led by its seductive female vocal. The never edit featured here is fantastic rework with more of a bouncy uplifting feel optimized for proper main room dynamics. This is followed by the sunny and uplifting deep house vibe of "Strack".
Review: Since founding their 17 Steps label in 2014, Dusky has barely stepped away from the imprint. Kudos to Gerd Janson, then, for persuading the British duo to offer-up this EP on his lauded Running Back kabel. They start in typically sweaty and bombastic fashion with "Boris Borrison's Trip To Morrisons", a soaring and life-affirming chunk of warehouse-ready peak-time madness built around a dirty, Italo-disco style arpeggio bassline, glassy-eyed rave stabs and tactile electronics. "Static" is a bustling but dreamy affair whose combination of swirling vocal samples, weighty sub bass and crackling breakbeats recalls the early days of British dance music. "Lea Valley", another retro-futurist affair that combines deep musical touches with heavy bottom end pressure, is similarly sizable.
Review: Dusky's first outing for Running Back, "Life Signs", was arguably one of their most euphoric and uplifting releases to date, so it's little surprise to find that this much-anticipated sequel explores similar sonic territory. The future anthem is undoubtedly "Metropolis", a shimmering retro-futurist number that layers bleeping lead lines and spine-tingling pads atop a weighty analogue bassline and heavy beats. You get vocal and dub mixes, with the former making great use of a loved-up female vocal snippet that adds to the cut's old school credentials. Elsewhere, "Seed Tray" is a rushing, warehouse-ready stomper smothered in rave-era piano stabs, "Mushroom Samba" adds bleeps to a suitably psychedelic, all-action backing track, and "Fridge" is a nostalgic, retro-futurist romp that defies easy categorization.
Review: The dubwise vibes are alive and well within this one as Running Back Germany welcome in Feater for a wicked selection, providing a fantastic new single by the name of 'Time Million', along with a number of different dub remixes. The single itself is a feel good creation, using classic reggae chord structures and airy rhythms to give space for an extremely pleasing lead vocal line. As we said above however, this one gets really interesting when we look at the different Blood Shanti remixes, having three separate run throughs of the track with dubby twists on every turn.
Review: While there's no original version of "Time Million" present on this epic collection of club-focused reworks, it would be fair to say that the assembled revisions all take Feater's gentle "outsider pop" cut in thrilling new directions. Krystal Klear's Balearic synth-pop takes are particularly magical, while Feater teams up with Sam IRL to deliver a gentle, Clavinet-heavy Dub that's similarly sun-kissed and spaced out. Minimal techno enthusiasts will savour Ricardo Villalobos's suitably wonky and stripped-back Remix and Dub versions, while Pangaea's revisions are tough, forthright and bass-heavy. The headline attraction, though, is arguably Pepe Bradock's contributions: two tasty DJ tools and a ten-minute "Hardclapping Remix" that wraps Feater's original liquid synth lines around rumbling analogue bass and urgent techno drums.
Review: For his last appearance on Running Back, Fort Romeau unashamedly paid tribute to the legendary Fairlight CMI sampling computer. On this follow-up, he turns his attention to another legendary piece of kit from the early 1980s: the more affordable E-Mu series of sampling keyboards/digital workstations. Naturally, the assembled "Emulators" are rich in vibrant and colourful synthesizer motifs, crunchy drum machine hits, elastic basslines and nods towards the kind of club-ready instrumental synth-pop jams that many would consider "Balearic". Highlights-wise, we're particularly enjoying the full-throttle hustle of "Emu" (think Chicken Lips meets early Italian dream house), the glistening ambient rush of "Emu III" and the undulating, acid-flecked cheeriness of digital-only bonus cut "Emu IV". That said, the thrillingly percussive "Bonus Birdy Beats" version of "Emu III" is pretty smart, too.
Review: Five years on from the first outing on Running Back, Genius of Time twosome Alexander Berg and Nils Krogh return to Gerd Janson's imprint with their first single in two years. Predictably, the Swedish duo is in fine form, delivering a trio of contrasting cuts that really deserve your attention. First up is the pots-and-pans drumming, scat vocals, booming bass and spacey chords of "Peace Bird", a driving deep house cut that's as atmospheric as they come. "Smiling Into Eternity" is even deeper and more intergalactic, with the pair peppering a chunky groove with swirling electronics and jazzy electric piano solos. Arguably best of all, though, is the rubbery synth-bass, electro-influenced drums and space disco flourishes of closing cut "Rymd01".
Review: For the first volume in Running Back's "Super Sound" re-edit series, boss-man Gerd Janson joins forces with Shan to tart up two lesser-known cuts from the Gibson Brothers, a sibling trio best known for their 1978 Caribbean disco hit "Cuba". They begin with a brilliant, dub disco style re-arrangement of 1979 cut "Ooh What A Life", whose celebratory vocals, chic-like guitars, vibraphone solos and rising orchestration all combine to create maximum dancefloor joy. It has the feel of a summer disco anthem in waiting. Once you've got your breath back, check the duo's version of "Heaven", which re-casts the T.K Disco cut as a hard-wired, bass-heavy disco-house jam full of razor-sharp strings, jangling pianos and bustling electric bass.
Review: Although Henrik Schwarz has kept himself busy in recent years, it's been a while since he released a full-throttle dancefloor workout. This debut appearance on Gerd Janson's Running Back label - the German producer's first solo single 2013 - is arguably his most forthright and floor-friendly missive since the turn of the decade. "Not Only You" is a thumping techno stomper, where ragged, mutant, repetitive lead lines are propelled forwards by some seriously good drum machine programming. Flipside "Not You Also" offers a slightly more eccentric riff on the same blueprint, with Schwarz adding some eccentric spoken word segments and a couple of bold synth fills.
Hologram - "Solstice" (Prins Thomas remix) - (10:31) 120 BPM
Review: Reissue of this valuable ambient techno classic on Schematic Records. Originally written and recorded in 1998, "Solstice" is an evocative bleep ambient masterpiece by Atlanta's Omar Torres. Interestingly enough, it first appeared in 2002 as the initial release on Joe Claussell's Natural Resource label. It has gained deep respect and praise over the years, becoming one of the most highly sought after pieces in underground electronic music. This new re-release is remastered for a special digital only copy with an additional remix by Full Pupp chief Prins Thomas.
Review: London's Hugh Mane, AKA Stupid Human, returns to his semi-regular home of Running Back toting four seriously deep house jams. Opener 'Child Of Love' is a hypnotic, synth-y affair redolent of Larry Heard or Ron Trent, while 'Everybody Question' treads similar ground but has a slightly more electro-like feel. 'Vintage Voodoo' is another synth-heavy cut with Italo leanings and a dose of the John Carpenters, while finally 'Free To Spend' is a darker, bass-heavy affair built for the warm-up or very late play. Peaktime fodder for the high street meat markets this definitely is not, but the headnodders and herbalists will find much to enjoy.
Review: Running Back Double Copy's second installment lovingly re-issues this house classic.The duo of Geoffrey Becker and Philippe Heinenonly only ever had a couple of releases on the short lived Brif Records: and this was the first. Originally released in 1998, right here is some timeless deep house that originally got lumped in with the whole French Touch scene of the time. "Akasha" (DJ Oyster Re-edit) is an evocative jam reminiscent of Pepe Bradock with its rising chords and tribal percussion really getting that sense of elevation happening. "Thank You Larry" (DJ GJ edit) is straight up deep house with diva vocals, as is "Let's Take A Break" (DJ GJ edit) but they really are an afterthought in comparison to that epic first offering, As label boss Gerd Janson said it best himself (regarding the original test pressing) "hopefully the Discogs haters won't get their knickers in a twist this time. It's old house music you fools!"
Review: It's been nearly three years since the last instalment in Running Back's occasional series of DJ-friendly drum tools. Following solo percussion 12s from Todd Osborn and Redshape, up-and-coming producer Ketiov steps up to the plate. His drum tracks are predictably dense and percussively layered, with clattering, pots and pans hits wrapping themselves around dense, off-kilter kick-drum patters and, in the case of opener "Rhythm#1", restless cowbells. In some ways, it's reminiscent of Max D's work under the Dolo Percussion alias, though Ketiov's cuts do include a few more subtle musical elements - the odd acid line here, a squelchy bassline there - not to mention a swathe of slamming, peak-time friendly tools.
Review: Strahil "Kink" Velchev may well be the hardest-working man in dance music. Each new-year brings a succession of fine singles, with little in the way of fluff or filler. Even so, the vast Playground is only his second album to date (his first, "Under Destruction", appeared in 2014). It is arguably his strongest collection of tracks to date, though. Over the course of the 12 tracks, he brilliantly demonstrates the depth and variety of his influences, variously turning his hand to cinematic downtempo beats ("Samodiva", "The Universe in Her Eyes"), warehouse-friendly peak-time anthems (stab-heavy smasher "Russian"), DJ Sneak/Dj Duke-style big room house ("Perth", 'Organ"), mind-altering experimental dub ("Peter Piet Pete"), Industrial ("Tate of Metal") and, of course, angular analogue techno ("Five", "Teo Techno").
Review: KiNK's taster for his up and coming album on Running Back is here. We don't know if the title is inspired by the Scottish town that techno larrikins Clouds are from, or the sleepy mining town in Western Australia: it's anyone's guess! The Bulgarian hardware maverick brings us some funked up disco loops, reminiscent of DJ Sneak's Sneaky Trax imprint back in the day. "Perth" is a prime example of his unstoppable knack for good times. Taken from the new Playground LP, the three versions here are dripping with grease. Split between the original, a chord mix (which is brooding and epic) and a funky beat version full of sultry latin percussion: it's all you ever wanted from a single. Perfect house music for techno DJs and techno music for disco DJs.
Review: As the matter-of-fact title makes clear, this tasty four-tracker delivers fresh re-rubs of tracks from KiNK's superb 2017 album Playground. First in to bat is Dusky, who re-casts "Perth" as a saucer-eyed chunk of rush-inducing, big room-friendly heaviness rich in darting synth stabs, held-note synth-strings, bustling beats, celebratory piano riffs and heady old school vocal samples. In typical fashion, Radio Slave man Matt Edwards turns "Teo Techno" into a dark, sleazy and mind-altering early morning thumper, while Josh Wink re-imagines "Five" as a restless, undeniably psychedelic throb-job. Arguably the best remix, though, comes from Matthew Herbert, whose "Funnel Dub" of "Yom Thorke" gleefully joins the dots between his glitchy, micro-house past, swinging Afro-tech and otherworldly alien funk.
Review: Described by Running Back boss Gerd Janson as an "ode to the miraculous grip a piano still holds over almost any dancefloor", KiNK's latest EP is naturally awash with cuts that will get dancers reaching for the air piano faster than you can say "old school banger". The Bulgarian's banged-out piano motifs naturally come to the fore on heavyweight stomper "RAW", but also play a key role on "To Love You", a rush-inducing chunk of rave era house giddiness that's set to soundtrack a fair few loved-up moments this summer. The vocal version is the killer mix as far as we're concerned, but there are Instrumental and acapella takes, too. We'd also recommend checking the acid-fired, Head High style piano-techno of "I Remember (303 Version)".
Review: The latest volume in Running Back's celebratory Mastermix series pays tribute to Hamburg's legendary Front club, which did much to popularize American house music (amongst other things) in Germany the late '80s and early '90s. The expansive set contains an epic DJ mix in two parts from original resident DJs Klaus Stockhausen and Boris Dlugosch, plus no less than 37 vintage cuts that made Front's dancers move. It's pretty much all solid-gold fare, with killer proto-house and first wave house jams being joined by obscure early UK electro (Syncobeat), Balearic deep house (Fila Brazillia's often-overlooked "Mermaids"), sleazy Italo-disco (Answering Machine), New Wave-era Euro dance, Paradise Garage-era New York anthems (Temper, Hot Streak), punk-funk (Modern Romance) and breezy, loved-up synth-pop (the brilliant Dub of Blue Moderne's "Through The Night").
Review: Gerd Janson's Running back taps into some local talent courtesy of Stuttgart DJ / producer Konstantin Sibold. The title track is a classic slice of German techno; it has shades of early Force Inc thanks to its tranced out chords and pace - cruising along just below 130bpm for its ten-minute duration - and the raw energy of Tresor in the shape of its gnarly acid line. The musical elements sound much more pronounced on the beatless version, with the chords assuming a slightly menacing edge. However, this is really all about the original version, a tripped out, hypnotic that digs deep into the German electronic music psyche.
Review: It's fair to say Running Back have not put a foot wrong this year with headline releases from Tiger & Woods and Todd Terje complemented by some lesser celebrated but by no means less impressive twelve inches from Marco Passarani, Disco Nihilist and that stunning Son Of Sam reissue. Their latest release sees the focus shift to another under the radar producer in Suzanne Kraft, whose Green Flash EP makes for one of this year's most attractive releases. Kraft adopts a pleasantly midtempo poise on "Morning Come" with swathes of melodies infused with sunset gradually rising to the fore. This joyous feeling flushes through the rest of the EP with both "Turning" and the title track sounding like Tiger & Woods performing from the deep end of the pool. "Femme Cosmic" provides an excellent finish to proceedings, unfolding from a tinnily reverberant slowed down proto house drawl into some midnight cruise through dubbed out mutant 80s disco boogie.
Review: Between 1965 and '68, future Muppets creator Jim Henson spent much time drawing and painting "the entertainment experience of the future - the theatre of the year 2020", which he called Cyclia. It's this psychedelic nightclub vision that inspired Krystal Klear's "Cyclia" series of EPs. There's much to enjoy on this suitably colourful and retro-futurist second EP, from the sleazy, synth-heavy Italo-disco/trance fusion of opener "Future Fantasy", to the bubbling electronic motifs, sequenced synth-bass and "Labyrinth" movie soundtrack vibes of slow-motion closing cut "Genesis". In between you'll find the dark, pulsating and muscular electronic disco/hypnotic house fusion of "One Night In Pbar" and the neo-trance grandiosity of "Dutch Gold".
Review: Here, a quartet of producers step up to offer their interpretations of "Neutron Dance", the throbbing, Italo-disco-fired lead cut from Krystal Klear's "Division EP". Paul Woolford pays tribute to early Eddie Richards project Jolly Roger on his jaunty, early UK house style rework - all squidgy TB-303 bass, drum machine cowbells and fluid house pianos - before Fango re-imagines the track as a sprightly chunk of New York freestyle/breakbeat house fusion. Fellow Irishman Mano Le Tough takes to the mic on his hybrid Italo-disco/throbbing house take, before Running Back chief Gerd Jansen straps on his "Birkies" and re-imagines the Dublin producer's original as a breezy blast of dub-wise, retro-futurist house.
Review: Krystal Klear's last outing on Running Back, "Neutron Dance", became one of the house success stories of 2018, so hopes are naturally high for this follow-up. "Euphoric Dreams" certainly lives up to its title, with the Manchester-based Irishman peppering a heavy, delay-laden drum machine groove with elastic synth lines, grandiose melodies and sparkling, Italo-disco style syntheszizer stabs. Like much of his work in the last few years, it subtly references a variety of old dance styles and tracks whilst still sounding pleasingly fresh. The producer's love of snappy, delay-laden drum machine beats and throbbing NYC freestyle electronics returns to the fore on virtual flipside "Miyoki", a cut that's every bit as joyous and glassy eyed as its predecessor.
Review: In recent times, Krystal Klear's EPs have wholeheartedly paid tribute to a variety of (mostly New York-based) historic clubs, artists and dance music sub-genres. While he's officially broken the spell with The Division EP - his first outing on Running Back - for the most part it's still a heart-warming, retro-futurist treat. He kicks things off with the cheery, Italo-disco revivalism of "Neutron Dance", where throbbing synthesizer arpeggio lines and mid-80s melodies are underpinned by a bustling mid-tempo house groove, before slowing things down via the Balearic synth-pop shuffle of "Division Ave". Then you'll find more muscular, freestyle-meets-acid house fun (wild and mind-altering peak-time highlight "Shockzoid") as well as the baggy, glassy-eyed Balearic house rush of closer "Moonshake Mike".
Review: Since first pitching up on Running Back a year or two back, Dec Lennon AKA Krystal Klear has delivered some of his strongest music to date, including a string of peak-time anthems ("Neutron Dance, "Euphoric Dreams" etc). His latest EP for Gerd Janson's label is similarly strong. Check first the trance-influenced, synth-laden throb of "Entre Nous", where big room piano riffs help raise the track to hands-in-the-air anthem status, before admiring the new beat and EBM influenced neo-trance workout "Autobahn". "I'll Be There When You Need Me" is one of Lennon's most saucer-eyed and loved-up tunes to date - all warm waves of synthesizer bliss and decidedly Balearic melodies - while "Gambino" is a cheery skip through 1980s NYC freestyle territory with added Mylo style riffs.
Review: German house label Running Back has featured the likes of Radio Slave and Boris Dlugosch in its schedules. Now its time for cult hero Philipp Lauer to join the party and he's marked the occasion with the Phlipper EP, possibly his most Italo disco-influenced release yet. Basically the whole record is the sound of summer holiday fun - the title track is breathy retro Eurotrance, (think the Rhythm Of The Night) all stonewashed synths and hands-in-the-open-night-air melodies. "Muscle" meanwhile is more your 80s Outrun-style arpeggio disco and "Lauer Vizzi" is pure late 80s Italo house joy think Rimini via the Hacienda.
Review: While he's been keeping himself in the spotlight via some suitably glassy-eyed and loved-up remixes and collaborations, Phillip Lauer has not released much solo music in 2018. Now we know why: he was putting the finishing touches to "Power", his latest full-length for Gerd Janson's consistent Running Back label. As you might expect, all nine tracks ripple with giddy audio references to vintage dance styles of the '80s and '90s, from the synth-heavy Italo-disco revivalism of "Phaser7" and "Mirrors", to the rush-inducing electro positivity of "Direction" and the almost overwhelmingly sun-kissed pulse of Balearic-minded ambient opener "Blissos". While his inspirations are overwhelmingly old-fashioned, the resultant tracks are rarely less than brilliant, with the instrumental synth-pop rush of "Realistic" and muscular, Bobby Orlando-esque sing-along "Power" amongst the many sparkling highlights.
Review: Having contributed a stellar track to Gerd Janson's Musik For Autobahns 2 compilation, it's little surprise to see Leon Vynehall pop up on Running Back. Rojus (Designed To Dance) is an expansive eight trackaffair thati s likely to be as popular as 2014's Music For The Uninvited LP for Martyn's 3024 label. It's also predictably varied; contrast, for example, the drowsy ambient chords and twinkling electronics of opener "Beyond This", and the deep-jack-goes-rave sweatiness of "Beau Sovereign". Vynehall also finds space for the Balearic jazz-house swing of "Paradisea", the wall-of-sound Detroit deep house of "Blush", and the African influenced drum workout "...There Is You". In other words, it's a versatile cracker.
Review: International man of mystery (and indeed feels) Mark Barrott makes his debut on Gerd's Running Back with another set of blissed out island sketches. His third full LP (as Mark Barrott) Nature Sounds Of The Balearics returns to the sandy-toed source as 10 originals whisk us away to balmy pastures; sometimes the trip comes with a little under-sprung turbulence like the jittering juke twist of "Trix", other experiences soothe the soul with a little beatless sprinkle like "Ichimoku" while others, like the lavish finale track "Evening Star" are total synth cosmicity. A man of many aliases but one consistent soul; Barrott always blasts you away...
Review: Amazingly, it's been some three years since the last single from former Crosstown Rebels and Music For Freaks mainstay Matthew Styles. As you'd perhaps expect given its release by Running Back, this comeback EP is pretty good, with the hirsute producer offering up a variety of flavours across the five tracks. The title track, for example, is little more than a freaky, beatless DJ tool, while "Polee" channels the spirit of space disco and Chicago jack. "Scale" is unfashionably deep and careful, whilst "Galaxy 21" is a heavy percussion work-out with a twist. All are overshadowed by impressive lead cut "Don't Call Me Again", which sounds like a swinging house take on the classic Carl Craig sound.
Review: It's hard to think of a label that would be less likely to release Neil Landstrumm's music than Running Back, so this EP underlines the fact that anything is possible. Admittedly, the Scottish producer has tempered his sound somewhat for Shitting Diamonds; "Sex With Madonna" and "Centurion X" both see the maverick producer make his sound more accessible, thanks to the pulsating bass tones and synths that swirl in overhead in majestic fashion. "Shame" also revolves around a throbbing bass-line but on this occasion, the synths and approach are more lo-fi. "Night Walker Zwei" meanwhile is a tougher techno work out, while he ends the release with the chugging electronic disco of "HI_Lm".