Minimal / Tech House Recommendations August 2013

Review: Hailing from the new and mysterious Vara label, this four track double pack makes a bold statement about the intentions of the label, offering a decidedly ambitious product for a second release populated by relatively unknown producers. Lucky then that all the tracks on the release are worthy of their own side of wax as they plumb the depths of minimal tech house with fearless abandon. Arapu keeps the beat twitchy as he lets globulous sub bass design provide the warmth in the track, while Dubsons get into a lighter frame of mind with a breezy beat and atmospheric swirls of chord. Faster brings things back to a darker context with that fearful clang of church bells and plenty of decay and reverb around to fill in any untoward gaps, leaving it to Costy & Gerardo to finish the deal with a stoutly stripped down, cyclical burner for the deepest of dancefloor contemplators to get lost in.

Review: Combine Jean-Guillaume Cabanne with Guillaume Berroyer and you get Copacabannark, a French minimal production duo with two early noughties releases on Perlon and another 2006 release on Minibar. The 10" Mindisc EP is their second release for the aforementioned Minibar and it sees Copacabannark return to a quirky and minimal squirt-effect aesthetic. "Cave" softly throbs to the sound of a tonal bassline muffled by woofy filters, as a three dimensional scope of trippy sound bites circulate the background like a confusing dream. On the flip is the stripped back and funky groove of "Grenier", narrated by discombobulated vocal samples of the late Gil Scott-Heron.

Review: A considered classic in the canon of Minimal Wave tracks, "Flying Turns" by Philadelphia trio Crash Course In Science is opened up to a whole new audience here with a 12" reissue on Pressure Traxx complemented by remixes from label founders Einzelkind and Frost as well as Mr R Villalobos. Given that "Flying Turns" is a favourite of numerous DJs - from James Murphy to J Rocc to Funkineven - you should be familiar with the corrugated synth lines, proto-techno rhythms and the urgent vocals of the track which sounds remarkably futuristic despite it's first appearance dating back to 1981. Frost & Einzelkind focus on that degraded sound for their remix whilst Villalobos turns in two typically stripped back revisions of which the self styled 'Mac Hawking' effort is wonderfully boompty.

Review: ## Repress from the Acid Test dons ## LA techno imprint Absurd start 2011 with a brand new series focusing on contemporary strands of acid tinged danceteria from an international cast with the Austrian producer Tin Man at the helm, plus a remix from Donato Dozzy adding an extra flavour of desirability. There's a restrained, melancholic and yet still very trippy brilliance to "Nonneo" which separates the track from the usual 303 fare - the acid lines are teased out with real nonchalance over ever so slightly jacking programming whilst the growing crescendo of synth patterns add some real depth. "Accumulated Acid" transfers you even deeper into psychedelic bliss, a slow mo throbbing acid excursion touched delicately by stripped down metallic stepping syncopation. Dozzy holds court on the B Side with a remix of "Nonneo" that gloriously twists the track towards a more narcotic, reverberant exercise in hypno-house. Comes in a rather neat hand sprayed sleeve with a code to download the tracks!

Review: After making their first forays into releases last year, unmistakable duo Blond:ish make their second appearance on Kompakt with some perfectly pitched house music steeped in fuzzy warmth and surreal noises like you would expect to find on the esteemed German label. "No Place Like Gnome" struts forth on live drums and a formidable tension, where post-punk sampling methods create sonic wraiths that dart throughout the mix. "Inward Visions" is a more full-bodied affair, even if it does still deal in a mildly unhinged take on electro-pop constructions within club music. For a steamy and strange concoction to get the night juiced up, there's plenty of useful tones and drones to be found on this release.

Review: The second release for Russian label Arma, following Area's Bourbin Skies 12", is a debut for both artist Piticu and Jeefo. Piticu kicks of the split record with the dusty house groove of "Arzi Unde", sprinkling its ambience with cricket bug pings and a sullen toned bass line. He follows this up with a brooding, mid weight slab of minimal techno in "Moa Phoa". Jeefo opens his account with "Attack", a low-end heavy pattern of circular rhythms, while opting to almost strip "Limonada" bear of any low end - letting deep, windchime tones playfully carry the track home.

Review: The ever so slightly smutty disco that Swiss pair Alex Gloor and Sasha Crnobrnja make as In Flagranti has long been a staple in the DJ sets of Erol Alkan - you probably danced to his Disco 3000 edit of "Brash & Vulgar" at some point too. It makes for little surprise then to see the pair surface as the latest artists on Alkan's Phantasy Sound label with the four track Headrush EP. From the opening title track, this is vintage In Flagranti with intricate drum edits, off kilter electronic hooks, vaguely sexual vocal utterances and slick recycled bass lines. The scattergun final track "Dope As Shit" is a particular highlight, careening in a carefree fashion through the sort of proto jack that Ron Hardy used to lap up at the Music Box. The pilfered visual themes of In Flagranti's Codek releases are replicated too in amusing fashion on the cover art.

Review: Joining forces with producers outside his Visionquest hometown, Ryan Crosson showcases a pair of collaborations that further tap into the sleek and sexy funk of the label he runs. "Angel", penned with the Tale Of Us boys, is an urgent mover with peppy drums and searching dashes of synth clipped into dynamic and ear snagging arrangements. "Head Above Water" reaches for the moody vocal talents of Aquarius Heaven, going for a techy construction that keeps the beat minimal while the melodics come in subtle pulsing tones that create a deeply hypnotic concoction perfect for the blurry end of the night.

Review: Regular roamer around the Kompakt savannah Gui Boratto drops some more of that upfront tech-house business, rendered crisp and punchy by the lofty production values and hitting all the right buttons for a release that is likely to rock many a sizable crowd. "Too Late" is a slow burning number with a throbbing electro bassline and female vocal hooks, ably slipping into more techy terrain where needed but always shot through with a poppy sensibility. "We Can Go" again brings a touch of pop to proceedings but more in an 80s new wave vein, with the ominous vocals and dark synth lines working wonders on creating an edgy atmosphere.

Review: Since establishing the Arttu project with a couple of releases on Philpot, Finnish producer Arttu Snelman (who previously recorded as Lump) has really made a name for himself as a exponent of loose limbed bang the box house tracks for the likes of 4 Lux and Clone Royal Oak - The Jerry The Cat featuring "Nuclear Funk" for the latter label remains a Juno HQ favourite. It's great then to see Snelman return to Soulphiction's enduring label for this classy two track demonstration of the current Arttu style. Lead cut "Next System" has that loose percussive sensibility, with hi hats spraying liberally in various directions whilst Snelman goes freestyle on the keys. However it's "Space Tripping" that resonates most, coming across like Prince jamming with Ron Hardy.

Review: In something of a surprising move Rinse turn to the straight-up tech-house styles for their latest various 12", representing a sound a world away from the grime roots of the label. Richy Ahmed is most readily associated with Jamie Jones and the Hot Natured brand, and here he throws down some limber acid arranged in a stripped down style that reflects his surroundings neatly. Clive Henry's SAS project turns out a more pumped up excursion in "Cloak & Dagger", full of gnarly stabs and insistent beats for the darker dancefloor, leaving it to Michael Jansons to lighten the mood with the sassy "All I Give".

Review: Given that Australian label Contemporary Scarecrow kicked off proceedings with a release from house legend Boo Williams, you'd wonder where they could possibly go next. A release from one of the most prolific and respected producers in the game certainly isn't a bad move; this self-titled EP from veteran producer Mr G more than matches up to the rest of his output. The appropriately named "Potent" sees rolling drums carry staccato chord blasts and a thick, resonant bassline with all the appropriate force, while "Dancefloor" takes things into deeper, trippier territory with its breathy vocal moans and high octane pace. The flipside sees two tunes for the later hours, as "Tune In" and "Seapuss" both taking things into dark, dubbed out territory.

Review: Earlier this year, Nick Hoppner stepped down from his role as Ostgut Ton label manager, handing the reins to Jenus Baumecker without a hint of self importance or grand standing. The reasoning behind this decision was apparently so Hoppner could dedicate more time to creative pursuits and this has delivered some swift results in the form of Red Hook Soil, a three track 12" for the label he no longer oversees. The release is Hoppner's first for Ostgut since 2011, though he's been active in the interim period gracing Kompakt Extra and Echochord with aplomb. All three tracks on the Red Hook Soil see Hoppner in a four-four mood, with the title track venturing into uplifting, and in parts, melancholic fields of production that share a similar, only more textured feel to 2010?s "Brush Me Down" from the EP of the same name. The B-side is met with strains of Italo on the verging-on-epic "Bait & Tackle", though Hoppner does move into tougher techno territory with a dryer and regimented track in "Decal".

Review: With practically nothing behind them thus far, TV Baby issue a mighty mean roar that seems to attract some sizable support with plenty more to come in the future. BlackSpun bring a pair of re-versions that capitalise on the no wave style vocals about the city of the title, brooding and stripped down and just a little manic, with the "Acid Dub" getting the paranoia pitch perfect. Maetrik takes over on the flip for a version that makes big rooms moves but still manages to hold down a steady progression rather than any excessive showboating, and the Idjut Boys contribute a cranky remix that heads into decidedly ravey techno territory perfect for getting a good stomp on to.

Review: Japanese only limited edition of just 300 only 12 inch cut on 180 gram wax.