Review: Mark Broom teams up with Patrik Carrera for this hard-hitting four track release. "KOS" is a tough minimal track. Powered by insistent metallic percussion and visceral kicks, it's primed for peak-time use. The partnership yields a different result on the title track. Focused on a throbbing groove and an insistent, grungy loop, it makes for a powerful roller. Broom and Carrera remain in this general territory for "Track 4". Fuelled by a driving rhythm and merciless metallic percussion, its deft filtered twists and turns are sure to have the desired impact. There's no let-up on "F9" either, where the pair drop a tough, insistent workout.
Review: Opal Tapes and Lobster Theremin aside, S Olbricht has landed on some of the most interesting independent house and techno labels over the last three years, and so this new EP for Lee Gamble's UIQ seems like a natural fit. This guy's style of house and techno is as loose and leftfield as you can possibly get for club music, a starting from the slithering beats and swamped sonics of "137x3brk" we get an instant picture of Olbricht's freedom behind that mixing desk. This open-minded take on the genre is yet more evident on the gloriously off-kilter "Ktyring", and reaches a total climax of abstraction though the nearly beatless "J UC". "F1oa1" is a hard techno missile in terms of its beats, but the melodies gliding high in the mix have more in common with ambient than anything dance-based. It's a real excursion...the sort of EP that makes the whole 'outsider' moniker seem credible.
Review: Florian Senfter aka Zombie Nation and Tiga's ZZT project gets the remix treatment with a diverse set of results. At the raucous, bleepy house end of the spectrum are the versions by Clouds and Sound of Stereo, with the latter's tweaky remix sounding restrained compared to the atonal madness of the former's reshape. It's not all noisy exuberance though; Gesaffelstein's remix seeks to plumb to Drexciyan depths with a bassline that sounds like it was inspired by the Detroit legends and the versions from Crowdpleaser and Plein Soleil do a fine approximation of raw, analogue house. However, it's Julio Bashmore who steals the plaudits here with a soaring bassline fused with intelligent techno style melodies for an unforgettably sublime outcome.
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