Review: This will be the first of three volumes of exclusive tracks taken from Time To Express main man Peter Van Hoesen's Stealth mix CD, released in 2015. First up he delivers a trippy and ethereal remix of Chris Madak aka Bee Mask's live performance of 'Headband' taken from a recording of the 2014 Labyrinth festival, which is said to have left Van Hoesen "dazed and enthralled". On the flip he delivers a hypnotic peak time killer with "Breach" that packs equal parts energy and atmosphere, which is by now the Belgian producer's trademark. You could imagine hearing this while losing your mind, gazing up into the stars.. at Labyrinth festival in 2016!
Review: Anyone who had Peter Van Hoesen down as having a one-track mind will be surprised and impressed by State. The Belgian producer does his usual techno sound on "19 Continued", but the bass is more epic and reminiscent of 90s Detroit techno than post-noughties European music. "Admonition" is a nod to his solo and Sendai abstract work as infectious bleeps and tones unfold over a complex mid-tempo groove, while "Transitional State 2" is like a halfway house for his abstract and techno experiments with a recoiling bass and a robotic interpretation of UK funky's shuffle acting as the adjudicator. On "Transitional State 1" he regains his usual techno poise. The rhythm is fractured and less linear than usual - but the bass is as murderous as ever.
Review: Belgian techno hero and Time To Express boss Peter Van Hoesen brings forth the third and final volume of Stealth, featuring selections from his stellar mix CD of the same name. "Shadows & Concern" is the kind of relentless and hypnotic futurist groove that Van Hoesen is synonymous with these days, this one is restrained in its ferocity and is a benchmark for what techno should sound like these days. On the flip is the broken beat industrialism that is "Unicorn" but it sounds more like a black stallion with red eyes galloping through the darklands. This one will mix in well with a Ugandan Methods record to reign in chaos and take audiences on a one way ticket to hell and back.
Rosegarden Funeral Of Sores (feat Jacques Trenson) - (5:30) 103 BPM
Behind The Scorn - (5:34) 110 BPM
Wintergrass - Looped - (3:44) 133 BPM
Chromatic Intro - (5:14) 148 BPM
Equal Souls Divided - (5:39) 124 BPM
Casual Care Dub V - (3:52) 122 BPM
Trope - (6:28) 115 BPM
Exor1 - (5:03) 123 BPM
Gadarene Rush - (5:10) 160 BPM
Abandon DubMix 3 - Loop - (3:45) 124 BPM
Merely A Mirage - (2:48) 120 BPM
Rising Tide - (6:46) 126 BPM
Singular Fate 3 - Loop - (4:27) 125 BPM
Sky Ruptures - (6:10) 115 BPM
Fighting With Angels - (4:55) 122 BPM
Review: Uncovered is a three-part series that shines a light on unreleased tracks from Peter Van Hoesen's archives from a ten-year period, commencing in 2008. What may surprise fans of his kinetic warehouse techno is that the respected producer is also adept at creating slowed-down electronic pieces, audible here on "Editsolopunchin19 " and "Rosegarden Funeral Of Sores", the latter featuring Jacques Trenson's muddy vocals. There are other unexpected delights on this volume, such as the droning "Merely A Mirage", while "Slowdisto" bathes in a glitchy hue. At the same time, this collection does remind the listener of Van Hoesen's dance floor prowess and both "Exor1" and "Gadarene Rush" contain vivid sketches that form the basis of his distinctive techno sound.
Review: If you were to take Peter Van Hoesen's career back a decade you would find him in the midst of breaking through with a wholly experimental sound taking in the functionality of booming, deep and dubby, industrial-laced techno. Best highlighted in his 2010 Entropic City album, and across the evolution of his Time To Express label, PVHs avant approach to techno music has slowly mutated into abstraction and a new kind of sophistication. The works and ideas presented here may well suggest a cache of music perhaps deemed too early and esoteric to release for public understanding at the time it was made, which makes the futuristic ears we're all fitted with now perfect to take this in for consumption. Skittering atmospherics, modular basslines, rhythms and undulating beats, to ambient melodies and broken drums are all inside and should appeal to fans of Sendai too.
Review: Anything bearing Peter Van Hoesen's name is always an essential listen. Stealth, the Belgian DJ/producer's latest mix, is no exception. Featuring a number of tracks from Van Hoesen himself and his like-minded peers, Mike Parker, Yves de Mey and Voices from the Lake, this selection radiates effortless futurism at every bar. That doesn't mean that it forsakes identity and feeling in its quest; De May's "Return For Access - Kempinski remix" features air raid sirens and a hoover bass at its heart; Van Hoesen's own "Prime Symmetry" is a rough tribal workout and tracks from both Mike Parker and Eric Cloutier take the listener down the kind of bleep-led wormhole that many would find hard to escape from.
Review: Label owner Peter Van Hoesen and Yves De Mey's collaborative project finally reaches the album format. Geotope provides an outlet for both producers to give full vent to the abstract tendencies that make their techno releases so distinctive. This approach is audible on "Terminal Silver Box", where a droning bass and pitch-bent, glitchy percussion dominate, or on the grandly named " Refusal To Celebrate A Statistical Probability", which features the kind of rolling bass and washes of percussive interference that have won Van Hoesen's warehouse techno releases so much acclaim, minus the DJ-friendly beats. There are some nods towards the dance floor, particularly on the understated builds of "Following the Constant", but in the main this fascinating work focuses on the experimental.
Sing Like A Bird (Peter Van Hoesen remix) - (11:05) 130 BPM
Review: Marco Shuttle has been producing and releasing music for over half a decade, yet it's only recently that his music has begun to find wider acclaim. The dapper London-based Italian scored a real sleeper hit in the shape of 2011's "The Vox Attitude" but his active decision to focus less on this brand of booming 808 heavy warehouse techno and more on a deeper, tonal based sound has paid real dividends, finding increasing favour with the more cerebral techno selectors out there. A debut on Time To Express is undoubtedly Shuttle's most high profile release to date, and it's little surprise to hear the genesis of Peter Van Hoesen's label issuing "Sing Like A Bird" dates back to the Italian producer playing it at last year's edition of Japanese techno festival Labyrinth. Fans of Dozzy and Prince of Denmark will love this, whilst there's also a remix from Peter Van Hoesen as well!
Review: Through a string of rock-solid releases for Komisch the enigmatic SP-X alias has proven to be a go-to choice for those craving taut muscular techno with a granite edge for their DJ sets. Having debuted on Peter Van Hoesen's Time To Express back in 2011 with Voltage, SP-X returns with the first instalment of a three part Moving Through Mirrors series to be released on a monthly basis. The two tracks on this release are pretty much what you would expect from a SP-X record; stripped-down sweatbox grooves whose powers are fully revealed when deployed in front of a packed peaktime dancefloor.
Review: Peter Van Hoesen's Time to Express imprint returns with another release by the mysterious SP-X, although it's anyone's guess who they really are. More to the point; 2 offerings of straight ahead, peak time cerebral techno that this label is renowned for. First up is "Fleeting Image", a tough and tunnelling groove that builds to an overall hypnotic effect. The drum programming on this track is immaculate. "Lingering Resentment" channels the M-Plant vibes with its cyclical minimalism, complete with squelchy synth stabs and claps on the kick, you know the drill!
Review: The second EP in Peter Van Hoesen's remix series sees Scuba's SCB alias and Token artist Phase following in the footsteps of that excellent double header of Sigha and Donato Dozzy. SCB's take on "Seven, Green and Black" takes the stuttering original and threads a strong 4/4 pulse through it, with atmospheric textures that belie the huge crescendo that erupts at the mid point. Phase meanwhile takes the slurry of abstracted delay that is "To Alter A Vector" and makes it suitable for the biggest of rooms, with earth-shattering kicks and subtle ambience shot through with sparks of synthetic texture, all designed to reinvigorate the tiredest of bodies and minds.
Review: After a relatively quiet two-year period, Peter Van Hoesen returns with a new long-player - but will he fall victim to the 'difficult second album syndrome' that plagues so many artists? The Belgian producer's last EP was called Transitional State, and the title sums up the approach on Perceiver and the general direction that Van Hoesen has been heading in for the past few years. Listen to even his recent dance floor-based releases on Komisch, Ostgut and Time To Express and you'll hear glitchy slivers of percussion amid the punishing, merciless basslines. Van Hoesen has emphasised this abstract side to his sound on Perceiver. "Objects from the Past" and "To Alter A Vector" unfold in slow motion, with textured sounds floating over lurching rhythms, breaking occasionally to allow the dubby beats come to the fore. In between balancing the functional and the abstract, the album also presents a third way, and it results in the most impressive track on the album; "Nefertiti Always Beyond" boasts nickel-plated drums and Peter's trademark sub-bass, but there is something looser about the arrangement. What it may lack in precision it compensates with a sense of punky energy, its rhythm spasming like a Magazine song trapped in the body of a relentless techno arrangement. It's the centre piece in a perception altering album.
Review: Few contemporary producers scale the same futuristic heights as Peter Van Hoesen and on Call & Response, the Belgian producer shows why he is peerless. "Rift" is pacey and lithe, underpinned by a pulsing, warbling bass. "Situation Two" operates in a similar sphere, but here the drums and rhythms bristle with a metallic menace. "Hollow Eye" and "Chroma 3 (Dark Dub)" showcase Van Hoesen's deeper side; the former is subsumed by ethereal textures, while the latter centres on a resonating bass and layer upon layer of dubby soundscapes. It's only a brief digression however, and soon enough he's back to the dance floor with the title track's loose, tribal drums.
Attack On The Reality Principle (Sigha remix) - (7:22) 121 BPM
Review: Kicking off a series of remixes of tracks taken from Peter Van Hoesen's Perceiver album, this first release features two very opposing artists in the form of Donato Dozzy and Sigha. The Voices From The Lake producer elects to rework "Attribute 39", stripping out the beat and expanding the original track's outro section into a deeply complex piece of soothing electronics enhanced with drifting choral elements. Complementing this, Our Circular Sound boss Sigha lines the second side, pushing the glitchy dubbiness of "Attack On The Reality Principle" to the back and bringing his own patented brand of icy minimalism to the fore.
Review: Time To Express usher in the final instalment in their trilogy of Reciever remix releases themed around Peter Van Hoesen's excellent Perceiver LP, with Marcel Fengler and Neel stepping up and nonchalantly maintaining the standards set by Messrs Dozzy, SCB, Sigha and Phase. Adopting a reduced principle, Berghain resident Fengler has remixed "Inspection In Solitude" dropping swarming, buzzing riffs over a sinewy groove that gets right under your skin. In contrast to the ambient textural nature of Donato Dozzy's previously released remix, his Voices In The Lake cohort Neel offers a gradually building, densely filtered reshape of "Objects from the Past" that gets more intense with every few bars.
Review: Fresh from opening a new studio in Berlin, Peter Van Hoesen releases his first record of 2015. Originally conceived as an opener for his performance at Japan's Labyrinth festival, the title track is a serene piece of ambience which sets the tone for the remainder of the release. Although "Protagonist" revolves around one of the Belgian producer's typical snaking, menacing grooves, it too features chiming synths and dreamy segues, while "Swerve Damiao" rounds off the release with an atmospheric arrangement. However, 70 Secrets also reiterates Van Hoesen's prowess as a techno producer and the rolling, filtered rhythm of "Shadow Ground" is a typically functional track.
Voices From The Lake - "Zulu Vortex" - (8:49) 125 BPM
Wata Igarashi - "Night" - (9:32) 123 BPM
Review: Late last year Peter Van Hoesen issued Stealth, a deadly mix of original material from himself and new tracks from close friends Yves De Mey and Voices From The Lake, to Bee Mask, Wata Igarashi and Mike Parker. Like anything bearing the Belgian producer's name it was quality through and through, and evidence enough of the enduring longevity of the commercially-released mix format. Here we have the second in a series of complementary 12" samplers for the techno selectors out there eager to deploy some of the exclusive goodness themselves. The immersive sounds of "Zulu Vortex" take centre stage on the A-side, a prime slab of Voices From the Lake dancefloor hypnosis from Dozzy and Neel. Don't sleep on the B-side from Wata Igarashi though, it's just as mind-bendingly good in its execution!
Review: Dario Zenker is one of the most talented producers operating at the borders of house and techno, and "Cat Stance" is further proof of his abilities. The title track is a rolling, moody affair, its evocative, dark riffs crashing in over the sound of thundering claps. There is some light during the second part of the arrangement as Zenker makes a nod to his past and introduces a trancey segue. But in the main this is an effortlessly moody release and label owner Peter Van Hoesen's remix is testament to the overall tone. The Belgian producer's take is all about the bassline, a malevolent, pumping low end that combines the most menacing elements of late 90s jungle and sets them to a huge, shuffling techno groove.