Review: ** FLOORPLAN REPRESS ** It's fair to say that this was one of the best Robert Hood moments in a while! Just two tracks but boy do they hit hard - "Altered Ego" is more brakey than the usual Hood bombs but he's kept the inimitable chords, all wailing and weaving their way through the beat. The real heat is on the flip however, where the nostalgic, rave-infused piano keys of "Confess" make for a certified classic! Is it Hood who influenced Shed on this sort of beat or the other way around? Who cares, it's bloody amazing!
Review: While Robert Hood's Floorplan records have always been exciting and on-point, they have somehow got even better since his daughter Lyric joined him in the studio in 2015. The pair's latest gospel-sampling release is particularly potent, with both cuts sounding like peak-time anthems in waiting. We're particularly excited by A-side 'So Glad", a killer mixture of thumping techno grooves, dreamy deep house pads, looped piano snippets and brilliantly cut-up gospel vocals. That's not to say that the B-side is much weaker, though; in fact, with rasping preacher vocals, bustling Chicago house beats, mind-mangling organs and insatiable drum fills, it's arguably even bigger.
Review: Any new Robert Hood single is cause for celebration, but particularly when the release in question contains cuts as strong as this one. A-side "Reflector" is loopy and forthright, with Hood using swirling effects and subtle manipulations of a repetitive, big room-ready riff to increase intensity throughout. It's perhaps a little different from his usual heavy, stripped-back fare, but that's no bad thing. In contrast, flipside "Rotate" is classic Hood style minimalism, with warped acid lines, twisted bass and layered percussion creating a driving, mind-altering late night mood. There are slivers of melody, too, but these are sporadic and subdued in comparison to the rest of the Motor City's maestro's musical elements.
Review: The unstoppable techno juggernaut himself, Robert Hood is back on Tresor with some of that minimal machine music he basically defined back in the 90s. "Master Builder" is a masterclass in proper minimal techno, using a thrifty set of tools to make for utterly immersive, time-slipping techno. The subtly shifted "Sandman Option" mix of the track moves the position of the looping bleeps to create a different groove around the steadfast kick - juggling the two could be a lot of fun for creative DJs. Providing a different flavour on the flip, "Quartz" brings some bolder synth strokes into the mix, winding up with the quintessential Detroit track.
Review: For the latest volume in their essential reissue series, Tresor has decided to offer up a brand new edition of Robert Hood's celebrated 1994 debut album, "Internal Empire". A quarter of a century after Hood first committed it to wax, it remains one of the Motor City maestro's most potent and inspired works. It effectively defined his throbbing, minimalist style, with heavy and hypnotic cuts such as the bleeping "Minus" and deep and wonky "Within" perfectly encapsulating the stripped-back genius of Hood's production. If you've yet to acquire a copy, we'd recommending grabbing one of these: in truth, no techno collection is complete without it.
Review: When Dekmantel announced Robert Hood's Paradygm Shift project, which encompassed a gaggle of 12" singles and this album, the Dutch label described it as the "older and mature brother" of his seminal 1994 double-pack Minimal Nation. It's a rather apt description. This full album edition offers a gleeful romp through the Detroiter's distinctively booming-but-stripped back style of jacking techno, where slowly morphing loops, foreboding riffs and spooky melody lines ride hypnotic, locked-in grooves. There's little thrillingly new and different here, just killer dancefloor workouts in Hood's trademark style. Given that he does this kind of loop techno better than anyone else, that's a very good thing indeed.
Review: Following last year's full-length outing on Dekmantel, Robert Hood returns to his long-running M Plant label with a typically forthright three-tracker. Given that he's not released anything on the imprint under his given name since 2014, it feels like a significant release. Opener "Low Life" is certainly a slammer in the legendary producer's typical style, with a creepy, mind-altering organ line looping away over bombastic beats and a rumbling, sub-heavy bassline. "Go" is more tribal in feel despite the presence of a bleeping synth motif, with Hood adding and removing different percussive elements throughout to keep excitement high. As for flipside "Clocks", it's dirty, druggy, alien sounding and insanely weighty.
Robert Hood - "Gun Talk" (Ben Sims JFF edit) (5:28)
ROD - "Embase" (5:35)
Review: Ben Sims' Machine mix is loaded with exclusive gems which get a full-fat airing on this series of samplers. After a strong first round, another four crucial cuts from the heavyweight end of Sims' contact list get packed onto one highly desirable 12". First up is Berlin mainstay Steffi, who threads a hypnotic array of rhythmic elements together into the deep but energising "Gentle Uplift". Jeroen Search then edges the record a little further into the depths with the loopy, sonar bleep immersion of "Ostinato Pattern." Robert Hood's snarling, muscular "Gun Talk" gets the edit treatment from Sims himself, and then the record rounds off with the pumping stabs and irrepressible funk of ROD's "Embase".