Review:
By now we should know that Chaos In The CBD barely gets it wrong. In fact, we can't think of one duff moment in their rapidly expanding discography. Certainly, there's much to set the pulse racing throughout the Multiverse EP, which happens to be their first missive of 2018. We're particularly enjoying the Adonis-goes-deep bassline, becalmed chords, druggy acid lines and bongo-laden beats of opener "Multiverse" and the humid tropical house hustle of B-side opener "Kaitaia Fire" - deep and woozy, yet percussively adventurous - but the whole EP is superb. The other two cuts, "Double Dribble" and "Drum Therapy", are altogether deeper and calmer, with the latter also feeling wonderfully hypnotic in tone, too.
Review:
SRVD is a new collaborative project between Radio Slave and the art director Patrick Mason, and sees the pair focus on tracky house. The title track is a driving, heads-down affair, with a hypnotic vocal refrain unfolding over tough drums and swirling synth lines. Both the original and the tough dub version are exactly the kind of tracks you'd expect Radio Slave to drop in a club. "Nasty" also features vocals, but on this occasion they unfold to the back drop of rolling snares, receptive whoops and crashing metallic drums. The result sounds like "Witchdoktor"-era Armand Van Helden on angel dust.
Review:
Berlin legend Dietrich Bergmann aka Terranova has sure found his comfort zone on the Kompakt imprint, where he's presented three albums and nearly a dozen EPs over the last several years. All of these tracks on the Singularity EP are inspired by a current fascination with artificial intelligence and robotic technology and features three collaborations as well as two originals. From the moody dancefloor drama of "Let It Fail", the beatless ambient adventure of "Powergrid" or the slinky and melodic tech house of "Escape Ism" that builds with tension and suspense - it's another brilliant release by the artist formerly known as Fetisch.
Review:
Biomorph is the debut album from Enrico Sangiuliano, an artist who has previously featured on Adam Beyer's label. As the industrial drones of "Functional Basic Unit of Life" and the rugged electro on "Generative Model" and "Arboreal" all demonstrate, he has mapped out a route that stops off at many diversions. However, at his heart, the Italian producer remains a dance floor techno lover - and he expresses this passion most eloquently on Biomorph with the epic, trance-influenced "Cosmic Ratio" and "Hidden T" as well as "Multicellular", a storming big-room affair that is led by a tearing, system-levelling bass.
Review:
Next up on Afterlife is the Italian duo Mathame, who featured on the label's second Realm Of Consciousness compilation. Their tracks have since been played regularly in the sets of label head honchos Tale Of Us and here they present more of their sought-after tracks. This latest offering is no doubt and diverse affair, beginning with the melancholic yet life-affirming "Nothing Around Us" (with Lyke) - another fine execution of dancefloor drama that you've come to expect from the label and features a dark pop element courtesy of Lyke's dramatic vocals. For something more straight-ahead (and with adequate groove dynamics) there's the brooding dub techno slow-burner "22" and the atmospheric mood lighting of "Fade Into You". The latter hypnotizing you with its slinky minimal tech house groove and angelic vocals atop.
Review:
Los Lagos is Orb member Thomas Fehlmann's first solo album in eight years. Like his collaborations with Alex Patterson, it is a sprawling affair that sees the veteran producer head "wherever my heart drives me". This approach yields a multiple of different directions; there's the scuffled, offbeat techno of "Lowenzahnzimmer" and "Triggerism"; the jerky, jazzy "Window" and the digital dub on "Morrislouis". The album also sees Fehlmann team up with Max Loderbauer, another long-term collaborator, to create the jarring, stepping "Tempelhof". At the other end of the spectrum, his creativity focuses on sun-kissed abandon articulated on the effervescent, layered groove that is "Freiluft" - the most impressive embodiment of the freewheeling approach that pervades Los Lagos.
Review:
Test-File is Marcel Dettmann's first solo record in over five years. Despite the passage of time, it sees him focus again on straddling experimental sounds and more dance-floor friendly arrangements. This is especially the case on the title track, where the Berghain resident blends stepping, rickety rhythms with ghostly soundscapes. On "Ascending", he focuses on a straighter, tribal rhythm, while Dettmann's exploration of the dance floor also sees him unleash the stripped back, oddball house of "Autumn77". However, experimentation is never too far from his agenda, and the water-drop abstractions and eerie, bass groans of "Torch" provide a reminder as to why he is so revered - on and away from the dance floor.
Review:
Nobody really knows where Kotelett & Zadak originated from, but rumour has it that a shared fondness for fishing led to a fateful encounter somewhere on the North German coast. Kotelett lost his pants in a raid by the fishing authority, while Zadak, due to an overdose, burned both his driver's and fishing licenses - losing his livelihood. All tall tales aside, the zany duo have released on top labels like Hommage, Katermukke and Exploited, so they definitely had the credentials which led to a release on legendary Hanseatic imprint Poker Flat. Here they present you with the moody and melodic dancefloor drama of "Clovis", some dark 'n groovy tech house for trancing out under the strobe on "Syntax", or for something a bit more mellow and dreamier - you could try the rather lush "I LFO You".
Review:
The Glue EP by Irish power duo features two new tracks embodying the same dramatic and evocative vibes from their recent, highly acclaimed self titled album. The title track here unashamedly explores rave nostalgia, with its tough breakbeats, euphoric chord progressions and gated vocal samples taking you all the way back to '92. "Metro" uses phased acid house style drum patterns with roaring rave synth leads on this slow burning but heavily building dancefloor destroyer. Finally "DLR" soundtracks those divine moments of truth loved up in the chill-out tent, with this emotive ambient house cut with a nice tint of 303 acid for good measure that's reminiscent of classics by Orbital et al.
Review:
Bodies is Chanaski aka Stefan Haag's third release on the acclaimed LARJ label, and sees him drop a series of hardware-produced jams. First up, he displays his love of 80s electro with "Erscheinung". Featuring steely 808s and a Parliament bass, it seamlessly fuses stern, robotic synths and a riotous, freestyle aesthetic. On "Paura", Haag turns towards the dance floor, this time with straighter kicks and squelchy bass pulses creating a robust techno jam. However, Chinaski has a different side: "Forbidden" is more reflective and sees him drop evocative electro synths, while "Face 2 Face" provides the listener with an atmospheric ambient outro.
Review:
The Keysound massive make a highly anticipated return on this one as they unveil this five tracks selection from no other than Otik. We begin with the hypnotic composition of 'Top Ten', which sends trippy arpeggiators out to lead a choppy bass heavy charge. Next up the quirky sub rolls of 'True Level' followed by 'Latex' which works together some incredibly creative uses of space and reverb. Finally we have the spacey garage roller known as 'Notion'' before landing firmly on Blackdown's super techy rerun of 'Top Ten', rounding off the EP perfectly.
Review:
The Private Press duo have already put out music on Indigo Area and now they bring their effective club techno to Rekids. "Miracle Man" is a lean, pumping groove that resounds to thunder claps and the kind of menacing chord sequences that made Dave Clarke's Red series so memorable. On "Becomes The Prime", the Polish act draws on Jeff Mills for inspiration, with an indistinguishable vocal sample low in the mix as a dense, filtered track plays out. "Tooms" also has a raw, 90s techno sound, albeit with grimy chords and firing percussion prevailing, while the pair deliver a pulsating, acid-soaked finale in the shape of "Clan".
Review:
Carl Finlow is one of the UK's greatest electronic music producers, as this compilation demonstrates. Issued on 20:20 Vision, the label he co-founded with Back 2 Basics' Ralph Lawson, it features some of his finest electro work. On the deeper tip, there's the wonderfully mournful synths of "Anomaly" and "Equilibrium", while he veers into synth pop with the irresistibly catchy hooks and nerdy vocals on "Broken Mirror". However, that's not to detract from the weight of Finlow's catalogue, and tracks like the menacing "Nanotech" or the dense electro funk of "Mr Machine"- the title track of the bench mark 2002 album he recorded under the Silicon Scally guise - put him right up there with electro's greats.
Review:
Legendary Dutch producer from the Hague Danny Wolfers aka Legowelt returns, with his latest offering which is inspired by myth, legend and sci-fi. The Bunker and Creme Organization staple conjures up four ancient mysticism and space odyssey themed tracks on the Omnibus Babylon EP, which 'will take you on another journey through psychedelic space!' This is best exemplified on the evocative title track which revisits the classic sound of first wave techno, the deep and lo-slung acid express of "Learning To Fly" (which showcases Wolfer's signature lo-fi sounds) or for something darker - you could try "Miskatonic Trimester" with its druggy and tunnelling vibe perfect for going deeper down the spiral.
Review:
Richard For set up the RFR label last year and its split series has already played host to Skee Mask and Jichael Mackson. For the third Bavarian Stallion instalment, For pulls out the stops and welcomes the Zenker Brothers, who deliver the noisy, distorted "Schwirbler". Newcomer Jelly 3000 also focuses on techno, but ups the pace and covers the high-speed arrangement in hypnotic chords. In contrast, Kessel Vale's "Stroke" is a busy, broken beat affair that revolves around disco stabs and sharp, rolling drums, while Steril rounds off this third Bavarian Stallion release with the fragmented, vocal-heavy IDM meets electro of "Subsonic".
Review:
A true staple of the Amsterdam scene, the Rush Hour affiliated Yuri Boselie aka Cinnaman takes up the reins for local institution Dekmantel's extended tenth birthday celebrations with this mastermix. It takes in the entirety of the 10 volume edition - what an effort. What may seem as an outrageous challenge - what with the compilation's genre diversity and wide rage of tempos - it's a success, for they've certainly found the right candidate. Cinnaman plays a wide range of styles anyway, and is never afraid to mix the known with the unknown - he has a reputation for his remarkable combinations and transitions. From moments of sublime ambience (Italian ambient legend Gigi Masin with the utterly evocative "Maja") to bass heavy electro bounce (courtesy of Egyptian Lover or Syracuse & Epsilove), right through to techno bangers of the cerebral variety (by Donato Dozzy & Peter Van Hoesen or local hero Talismann) and stuff by Bufiman or Tony Allen - it's a solid effort here by one of Holland's finest selectors.
Review:
Gerd Janson and Philip Lauer are equally respected artists in their own right, but then they teamed up as Tuff City Kids they really conjured up a distinct style of magic between them. From plundering the vaults of classic house and disco sounds, through to their current fascination with old school techno and '90s rave aesthetics - even more styles gets thrown into the mix here. All courtesy of some of their favorite artists, getting the chance to rework some of the pair's recent tracks from the Adolescent LP - on the third and final series of remixes. Bulgarian hardware maverick KiNK delivers a furiously epic rendition of "Tell Me" (featuring Joe Goddard), Berlin legend Sascha Funke presents a spookily lo-slung perspective of "Wake People" and Norwegian disco hero Prins Thomas works his magic as always on an electrifying balearic rendition of the same track.
Review:
Dustin Zahn has been flying the flag for uncompromising techno for the past 20 years, so it is somewhat surprising to see him appear on Rekids. The title track is typical Zahn: cruising along at 130bpm, it sees him marry tough drums with a repetitive riff. "Decorum", which is of a similar tempo, resounds to churning chords and pile-driving percussion. Meanwhile on "Nameless Midnight", the US producer pushes the tempo up further, but adds some extra intrigue with an instinct vocal loop playing out over a wiry rhythm and mysterious bass tones. Rounding off what is an unusual but welcome release for Matt Edwards label is "Subtle Flex", a chord-heavy affair that features a more stepping rhythm than the preceding tracks.
Review:
Seleccion Natural is the third EP to mark the milestone of Polegroup's 50th release - and it's a thrilling affair. Seleccion Natural, the techno super group comprising Oscar Mulero, Exium and Reeko, starts the release with the atmospheric broken beats of "Necton", before taking the tempo up with the dense "Prokaryotic", which is still led by hammering kicks. On "Replicant Isolation", the trio shift the focus again back to broken beats, but this time the filters are more powerful and the drums steelier. Rounding off the release is "Transmutation": different to the preceding tracks, it's underpinned by a menacing, ebm bass and firing, razor sharp percussion.
Review:
Herzel aka Aleksandar Grozdanovski has released before on labels like Hivern and Charlois, and now brings his expansive sound to Uncanny Valley. The title track is a filtered, stepper that rides hollowed out drums and a powerful wave of bass to create a gloomy mood. On "Glide", the mood is even darker and more tranced out, as the Macedonian producer lets fly with a pumping groove and epic synth hooks. Changing direction again, "Glowworms" revolves around a house groove and searing acid lines, while "TWO" sees Herzel strip away melodies to deliver a raw, gritty techno track that has echoes of Gesloten Cirkel.
Review:
139 is the first release this year by Spectral, the house/techno offshoot of Ghostly International. It shows that despite the passage of nearly two decades, the US imprint is still relevant. Starting with the wild acid of Gunnar Haslam's "Versione Antica", the label takes the listener on a journey that includes the murky hardware techno of Minimal Violence's "Travel By Night" and Matrixxman teaming up with Riccardo Limiti to deliver the stomping "Inferno". Other highlights include the noisy, Chicago jack and eerie tones of Russell EL Butler's "Run Away With My Heart" and D'Marc Cantu's resonant "Regular People". It's testament to the label's approach that after nearly twenty years in business, it can still put together such an inspirational release.
Review:
Veteran artist Max Durante continues his relationship with Sonic Groove with this killer, 80s-influenced EP. "New Belgian Resistance" is an oppressive ebm/techno workout that resounds to a throbbing, pulsating bass and cold, robotic drums. "Molotov" is slower but just as menacing, with the Italian artist delivering a low-slung, acid-laced groove that will appeal to fans of original New Beat but also to contemporary artists like The Hacker. "Machine Gun" is like a halfway house between both of these tracks. with Durante laying down an unflinching rhythm laden down with shrieking vocal samples. Closing out the release is "Born From Pain", a slowed down workout with sharp percussive bursts that shows Durante is adept at applying his love of EBM to differing tempos.
Review:
Steve Bug's first release of 2018 sees him worship at the Motor City altar. While the title track's percussive rhythm is typical for the Poker Flat owner's approach to house music, it's the other elements that really shine here. A ponderous vocal, like something from a Mike Huckaby production, intones that everything is 'different in Detroit', while expansive dub chords play out in the background. Ornaments regular Rhauder delivers a more uptempo, rolling take on the original track, while on Marko Furstenberg's version, reflective, frosty chords unravel over a slower, dubbed out arrangement. It concludes an unexpected release from one of house music's leading producers.
Review:
Following up 2016's acclaimed Emergence album, Max Cooper has spent the last year working on his new LP for his Mesh imprint. He has explained that each track on One Hundred Billion Sparks 'is a score to a visual story stemming from this system of one hundred billion sparking neurones, which create us.' As with previous concepts, he has also ventured into some weird visual realms for the project, finding more beautiful ideas/scenes to bring to another one of his acclaimed live shows - his most ambitious thus far. Features the singles "Identity" and "Rule 110" in addition to other sonic highlights such as the deeply eheteral "Phi", "Emptyset" with its rich tapestry of hypnotic melodies or the sheer tension and suspense of "Identity".
Review:
Blue Hour presents the latest installment in his Remixed series, featuring new versions from carefully selected guests that draw from across Luke Standing's back catalogue. Prepare to hear some current scene heroes reinterpret what are set to become a welcome addition to his enviable discography. First up is Theory head honcho Ben Sims' functional and hypnotic rework of "Flow State", Fareham's Rich Jones aka Operator serving up some relentless drums on his version of "Introspective III" and the mighty Ctrls with his inimitable style of techno as heard on his remix of "Unearthed". If any of the aforementioned surefire weapons weren't enough for you - you could try Truncate's terrific perspective of "Meridian" fuelled by its resonant dub chords which were truly hypnotic.
