Review: KlangKuenstler and Jiggler join forces and give a nod to the good old rave days on this split EP. KlangKuenstler's "Save The Rave" is a take on the '90s sound, complete with a brooding bassline and 303 acid flourishes. There is an brazen nod to rave, yet the artist manages to carve his own style in its arrangement by adding plenty of energy. "Impact" is a dark journey track where solemn strings build up tension, joined by eerie/hypnotic loops: but just wait for that breakdown. Klangkuenstlers second offering "Exodia" goes for that classic rave aesthetic too, with swirling synths and advanced rhythms. Finally, Jiggler explores a deeper route on the atmospheric "Stairs", a powerful, bass-heavy cut geared for absolute dancefloor drama.
Review: Berlin tech house institution Still Vor Talent return with some real heat courtesy of local heroes. First up Fideles provides the dark, pop inflected journey track "Vitamins" whith its humming sub bass and moody atmospherics combined with Haptic's gorgoius vocals; this will cause some dancefloor drama be assured. "Wave Echoes" up next ups the ante on this peak time mission through the parklands. There's some epic 'whoomp' in the synth lead for this one so be prepared. It's then over to Kellerkind who is fresh off some killer tracks for the likes of local crew Kattermukke. On "Sub Zero" its yet another catchy deep house groove on the futurist side with irestitable pop elements and sexy vocals but it's more straight head on the slinky, late night tech house of "Take Your Soul".
Review: Oliver Koletzki's minimal label pushes the contemporary club sounds that fit right in with the current status quo. Moonwalk and Rafael Cerato's "Phenomena" is a dark, melodic, journey track that would make Tale Of Us or Mind Against stand up and notice. Boy Next Door's killer peak time anthem "Lovely L" features a massive and razor sharp bassline supporting equally fierce elements for dance floor mayhem. Also of honourable mention are Berlin legends Channel X with the wonky and downright epic killer "Supernova" which will no doubt rock the house and KlangKuenstler's dark, rusty and downright bangin' "Drunk In Chicago".
Review: Kellerkind continues his long-standing relationship with Stil Vor Talent on Move Me. The title track is a loose, rolling groove, punctuated by a piercing guitar and a doomy, incoherent vocal. It's house music, but only in the most liberal interpretation of that term. "Believe In You" is more direct. Featuring a tough bassline, a vocal sample intoning 'in you' and hypnotic drones, it makes for a more DJ friendly approach. However, the remixes push the release back towards abstract territories; the Jiggler take on "Move Me" is a dubby, tripped out house groove and Joachim Pastor's version sees him navigate his way through wiry abstraction on one side and powerful subs on the other.
Kellerkind - "Monologue" (feat Laura Wiesmann) - (4:16) 115 BPM
Itchy Feet - (3:30) 126 BPM
Review: Although sounding like the corny conclusion to the old God is a DJ line, Music Is A Miracle is the much more credible new LP from rising producer, Marco Biagini aka Kellerkind. From his nu-disco roots, Biagini has forged a new hybrid sound, fusing deep house grooves with flickers of disco and boogie. Highlights on this impressive long player include the perkier Metro Area-esque "Don't' You Know It", the slinky hip-house of "Give Me The Beat Back", the skippy garage of the title track and the Mood Music style, velvety electro-house of "Take This Higher".
Review: Has Stil Vor Talent gone back in time? On the evidence of Backflash, it sounds like it. The original version is based on a spacey groove and pulsing rhythms, with shiny synths bouncing off the loose groove. It's about as cosmic as contemporary house music gets. Niko Schwind's take is more conventional sounding, but he also uses a breathy vocal intoning the mantra 'got to get it' and a teased out rhythm to create a similar effect. "Disco Light" and "Down To" are more contemporary sounding, but there are also references to the past, in the shape of the Chicago claps on the former and the sensuous disco strings on the latter.
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