Review: Though now famed as a top-drawer live performer with a string of acclaimed albums to her name, there was a time when Marie Davidson's music was less widely appreciated. In fact, when this eponymous EP first appeared on cassette in 2013, she was pretty much unknown. As you'd expect, it's perhaps a little more lo-fi than some of her more recent work, but that's what makes the EP so appealing. Check, for example, the sleazy vocals, distant drum hits and cascading melodies of creepy opener "Ma Vie Sans Moi", the unsettling lead lines, ricocheting cymbal hits and powerful drone bassline of "L'unique" and the dystopian, high-tempo minimal wave-goes-bleep techno trip that is "Le Lieu Ou Vous Voulez Vous Rendre"; all three remain amongst Davidson's most arresting cuts to date.
David Last - "All That's Left" (feat Lavender - dance mix) (5:51)
Review: Besides its inimitable name, Hobo Camp has had a pretty unbeatable first few years in the game, switching up the electro sound with shades of loopy house and techno. These guys have released over two dozen EPs since 2016, and are showing no signs of stopping if this new collaborative release is anything to by! Pumping the vibes through with utter ease, Run The Length Of Your Wilderness is a daring, rip-roaring amalgamation of tech-driven sounds that span just about every quality corner of the game. "The Industrial City", from Cherushii, moans and weeps with a fragile acid bassline over broken percussion beats, while Nackt's "Next" floats at a house tempo, driven forwards by a winding bass from the darkest corners of the 4/4 game. On the flip, Roche's "One For Cherushii" bigs up his counterpart with a deep, aqueous house chugger, and David Last's "All That's Left" drops a clean, sparkly prog house groover for the lovers.
Review: You'd be forgiven for being unfamiliar with the work of short-lived San Francisco band Dub Oven. After all, they only released one 12" single way back in 1983, and that was a self-released, private-press affair. Happily, the dusty-fingered diggers behind Music From Memory are big fans and here offer up a re-mastered reissue. Amazingly, each of the three tracks explores different sonic territory. Contrast, for example, the Tom Tom Club-goes-synth-funk eccentricity of lead cut "Skin 'n' Bones" and "Dub Oven", a thrillingly spaced-out chunk of no-wave/electro fusion that sounds like it could have been beamed down from another universe. Then there's closer "Millions of Sensations", which sits somewhere between Japanese new wave ambience and the post-punk funk of Bristolian outfits The Pop Group and Maximum Joy.
Exzakt - "Clarity" (The Lethal Agent remix) (6:14)
BFX - "Coma" (5:53)
Proto - "Dark Data Dancing" (5:49)
Danny Electro - "Part Man Part Machine" (6:03)
Review: Straight up electro-bass coming at you from Boca Raton, Florida here on Ascendant Recordings - run and operated by Lethal Agent (of Analog to Future). The label's second release is a riveting various artist EP, featuring some legends of the Florida scene such as West Palm Beach's Larry "Exzakt" McCormick who gets a serving of body-bashing dystopia by Lethal Agent himself on the remix of "Clarity". Get familiar with 'electrocore' via the devastating "Coma" by BFX before flipping over to side B to welcome the return of Danny Electro on the booming sci-fi aesthetics of "Part Man Part Machine". Tip!
Review: Two of Detroit's most influential movers and shakers, it's about time Di'jital and Maaco enjoyed some of the limelight usually taken up the city's larger than life DJ characters. Here we find them brewing up the clippy, clicky classic electro groove "Aliens N Effect". Uptempo and nagging with a deadly scratchy riff, it's an instant bodypopper. Comes complete with an instrumental, a dub and a technicolour revisitation of Di'Jital's 2006 workout "Armada."
Review: The latest audio missive from the My Own Jupiter camp brings together debutant Nicholas Lutz (here using the previously unused Draculas Lutz alias) and former CABARET Recordings producer Omar Chibarro. They pair begins proceedings with arresting A-side "Instrumento", a bold, bass-heavy and angular electro jam packed with mind-altering acid lines and shimmering, deep space motifs. They change tack on the flipside, accompanying snappy, organ-laced NYC garage bumper "Tschuss" with the hybrid acid-jack/spacey house bluster of quality closer "Gerogliftko". While stylistically varied, the EP's three tracks are united by an attractive looseness that only emphasizes the thrillingly wayward nature of the duo's otherworldly electronics.
Review: Girada Unlimited is the new label run by Spanish DJ Julian Perez (Father & Sons Productions) and he presents the label's fourth release here - by someone other than himself. Dennis Pors & Stephan de Bruijn are D&S, with previous releases on Arts Ltd and Orbis X - so you can get an idea of where they are coming from. The Sources Of Light EP is best described by the label itself as 'a timeless musical journey.. with all the right Detroit elements.' From the emotive hi-tech soul of "Reflections" and the deep electro bass of "Escaping Societies" on the A side, right through to their B side Robert Hood tribute brazenly titled "Detroit 313". The young Rotterdammers really show their potential on this brilliant EP.
Review: From the minds of Direct Beat and Detroit Bass Classics, comes the first initial compilation of electro/techno heat. "Electro In The Key Of Detroit Vol 1" presents 4 proven dance floor dope and record crate staples that provide the hungry ears of masses the groove to move. A Side features two sure-fire steppers - a rare AUX 88 voyage entitled "Phantom Power" and Blak Tony's tempo-pushing "Holla Holla" finally see the light of day on this wax collectable, giving praise to Motor City footwork culture. On the flip, DJ K-1's "Erase The Time" rocked the airwaves and global clubs with its signature thumping style laced beneath alien-like melody and repetitive vocal structure while Posatronix's mutant-rhythm mantra, "Pure Techno Sound" pulls the weight of Detroit's street dance roots down to the origin of how to boogie in space. This collection of re-issued jams and new explorations is the must-have for the electro/techno & bass aficionado.
Review: The force is strong in this electrifying new EP from DAED, who last appeared on this label in 2017 on a VA release. There are shades of IDM to his complex synths and melodies, while kinetic broken beat drum programming powers the tracks along. The mood is melancholic on "Aria" which is so frantic it feels like it might eat itself, "Voidal" has fizzing, icy textures that will tie you in knots before "H2FSBF6" really pulls of some impressive synth acrobatics. "Ephemeris" is the warp speed closer that tarps you in a gorgeous digital world.
Review: Digital Poodle are one of those outfits from the 1980's who happened to stumble onto techno by accident, focusing on making deadly, driving songs rather than fitting into a genre or style. Alongside them there are the likes of Psychik Warriors Ov Goia and a few others, but this stuff is pretty damn hard to come by, and releases like this are few and far between. The impressive Suction label out of Canada has decided to reissue their "Work Terminal" tune - a screeching, venomous bit of screamo EBM - backed by a trio of remixes. OH transform "Work Terminal" into a more direct techno bullet with subtle swarms of the original's screams, while Solvent give it a more aggressive reshape a-la electro. It's the Metro Tekno version that gets our attention, though, and those heavy percussion patterns must surely be total winners on the sound system.
Review: Ovine build on the momentum of their first EP with another new house offering that is beautifully deep. It features two tracks each from Dan Piu and Pohl, and they all hack back to dreamy Italo, classic Mr Fingers and the more pensive Chicago greats. "Depresismatica" is a real highlight with its meandering basslines and infinite cosmic horizons. "Mello Phone" offers more pixelated melodies and busy beats and "Space In The Distance" has the sort of freaky edges and dusty analog textures house lovers always fall for. Already, then, this is a label that is setting a high standard.
Review: With this sequel to December's brilliant, compilation style "The Orbitant" EP, FU ME boss George K is spoiling us. With a high quality threshold and five varied cuts to enjoy, it offers excellent value for money for clued-up electro DJs. Heinrich Dressel sets the scene via some wonderfully spacey, widescreen ambient electronica ("Sem Intro"), before Galaxian wraps 1990 style Yorkshire bleeps and fizzing, minor key electronics around a booming bassline and ghetto-tech style drums on "Source Reality". Foreign Sequence's throbbing, acid-laden "Negative Vibe" sits somewhere between surging Italo-disco and pulsating electro, while Lake Haze's "System Glitch" combines creepy, deep space electronics and ragged acid lines with a rolling electro groove. Arguably best of all though is the mutant funk overload that is Jenson Interceptor's techno/electro fusion workout "Faceless".
Si Begg & Neil Landstrumm - "The Pusher (M)" (3:59)
The Exaltics - "00045.00.2" (3:53)
Amato - "Sueur Et Poussiere" (6:13)
DJ Overdose - "Industry Repeats" (4:55)
Review: As ways to introduce a new label go, this first outing from Hearse is pretty special. It's something of an all-star affair, with cuts from scene stalwarts and a lovely screen-printed sleeve. To kick things off, old pals Neil Landstrumm and Si Begg join forces on talkbox-sporting ja, "The Pusher (M)", where bleeping melodies and intergalactic electronics cluster around a mind-altering electro groove. The Exaltics offer up a razor-sharp slab of arpeggio-driven 4/4 electro insanity ("00045.00.2"), while Amato smothers an EBM/industrial funk style beat in foreboding electronic riffs and suitably wonky modular motifs. It's left to DJ Overdose to close proceedings, something he does in style via the distorted drums and mangled electronics of industrial electro workout "Industry Repeats".
Review: In some ways, And Silently Vanish Away is an odd title for an EP packed with tracks that linger long in the memory. Certainly, electro heads will appreciate the heavy 808 hits, droning bass and fluttering, deep space electronics of Exterminador's brilliant "Alien Soundscapes", not to mention the trippy, delay-laden vocal samples, warped hardware melodies and scuttling drum machine rhythms of NGLY and Exterminador's "Broken Flowers". We're big fans, too, of Hinode's bustling, razor-sharp opener "Mission4" - the kind of track that would leap out of a DJ mix and send you rushing online to find out its identity - and the fuzzy, dust-encrusted techno hum of DJ Nephil's hypnotic "Codex".
Review: London-based retroverts Art Of Dark return with a wicked double header here for their third vinyl release. Antonin Hifda aka Daif takes up the A side, offering up the hardcore rave reductions of "Another Version Of The Truth" followed by the deep down Detroit styled electro beats of "Devil". On the flip, it's all about newcomers DC EFX who follow through with the electro bass vibe on the absolutely booming "Expansionz", before closing with the bass-driven acid techno "The Roller Express".
Review: Italian electro expert Heinrich Dressel returns after recent offerings for fellow Romans Mannequin, electronique.it and MinimalRome. This time for Zagreb based Barba, who've served up some great ones recently by the likes of Alex Cortex, Aubrey and Gosub. "The Styx Swamp" is classic electro vibes with a good injection of funk for added dancefloor dynamic. Label mate Perseus Traxx does a great job on the remix up next. On the flip, it's more of a classic, Larry Heard /Chicago deep house vibe on "Sailing The Nether Waterways" until that dark bassline comes rushing in, of course! Finally "Gray Slope" sounds very familiar.. even if it isn't. Maybe because it just channels that good ol' Drexciya and Dopplereffekt vibe so well: and that's a compliment.
Review: Having taken the summer off - presumably to recharge their batteries - the robots behind Germany's Varvet label are back. For the label's third release they've enlisted debutants Disabled, a production duo comprising Stockholm's Cynthia Stern and veteran techno producer Tobias Schmidt (Tresor, Vivod, Don't etc.). There's a real "full throttle" feature to the untitled opener, whose fizzing electro synths seemingly buzz around a slamming techno groove. "Track 2" sees them reaching for surging analogue sub-bass, ghostly electronic melodies and jacking 4/4 beats, while "Track 3" is a panicked romp through angular electro pastures. Wisely, they allow listeners a bit of a breather in the shape of closer "Track 4", a far more becalmed chunk of ghostly, horror-influenced deep electro.
Review: We are proud to present two new EPs from De Bons en Pierre, the duo of Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. His sonic vision is one which constantly straddles the line between wild experimentation and rhythmic compatibility, drawing influence from early concrete, 80's tape scene and Birmingham school techno. After working together on the 'Crepes' EP that we released in 2017, De Bons en Pierre reunited for a two day recording session in Brussels. The duo recorded 13 tracks that we've split across 2 EPs with 6 tracks on 'EP No. 1' and 7 tracks on 'EP No. 2'. Beau says, "We hooked everything up and just pushed play. We didn't really discuss much about the process....it was very 'spur of the moment'." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Each EP contains 25 minutes of dance floor perversions that tackle an array of rhythmic forms. Sludgy synths, serrated percussion and viscous distortion goops over leviathan rhythms. All songs are mastered by George Horn at Fantasy Studios in Berkeley. 'EP No. 1' is housed in a sewage green jacket featuring a monster mask duo and spiky motifs designed by Florent Mazzocchetti, and 'EP No. 2' is radioactive orange with a different pair of monster masks.
Review: Brothers Fabio and Marco D'Arcangelo can trace their roots back to Rome's industrial techno revolution of the early 1990s, but are arguably best known for their frequent outings on Rephlex. This EP originally came out on Richard D James and Grant Wilson-Claridge's imprint way back in 1996, when they were still beginning their musical journey. It remains a blisteringly good six-tracker, with highlights including the raw, Aphex Twin-influenced "Somewhere in Time", the guttural, fuzz-drenched post-electro rhythms and Kraftwerk bleeps of "Diagram VII (Milk Mix)", and the pleasingly skuzzy industrial hip-hop of "Skrakt". Arguably best of all, though, is the shimmering "80s Mix" of "Diagram 7", which recasts the track as a melodic chunk of funk-fuelled electro.