Review: 6SISS explores the power and mystery of quasars on this latest release for Micron Audio, a sonic journey through these cosmic giants. The four tracks represent different stages of interaction with a quasar, from the initial observation to a euphoric absorption into its core. 'QUASAR I' features fizzing synths evoking radio waves traveling across space, while 'QUASAR II' brings a bass-heavy intensity, simulating the gravitational pull of these celestial bodies. 'QUASAR III' deepens the mood, illustrating the slow attraction of stars and planets, and 'QUASAR IV' crescendos with euphoric absorption into the quasar's core. 6SISS crafts an abstract, scientific narrative, offering a deep, immersive experience with radiant energy.
Review: This release presents a dynamic exploration of electro and techno, blending fast-paced, acid-driven energy with atmospheric depth. Side-1 opens with 'Destruction Industries', a heavy, dramatic track that pulses with acid electro, creating an intense, alien vibe. 'My Vision Of Space' follows with a futuristic, Carl Finlow-esque feel, offering a sleek, forward-thinking electro sound. The Belaria Remix of the track slows things down, providing a lower BPM version that retains the original's spacey atmosphere but with a more subdued, deeper groove. Side-2 shifts gears with 'Ammoniax', diving into otherworldly techno with a hypnotic, immersive quality and 'We Come For Acid', a darker, trancey track that builds tension with heady, layered acid sounds, perfect for late-night listening. Overall, this release offers a varied, yet cohesive mix of high-energy electro and atmospheric techno.
Review: Altone aka. Yuki Takasaki is a champion channeller of dub techno trueness, having made many a wave on the Tokyo underground scene already; his efforts come to a renewed head on the new EP for Primary Colours, 'Wonderscape Numinous', a high-impedance, phantom-powered trip through figurative J-scapes; to 'Self-Replication', 'Adaptive Swarm' and 'Wonderscape Numinous', we imagine a simulacrum web of nanobots splayed across the city, their many lens refocusings and field reconfigurations emitting a syntonic electric hum. The closer is especially beautiful, haunting the nighttime itinerant ear with cutoff chord ricochets and an endless fumbling foley sound; the sound recalls a restless cyborg, endlessly fiddling with its field recording equipment as though it were a dopaminergic Rubik's cube.
Review: Yuki Takasaki aka. Altone delivers tactile dub techno tonage with 'Wonderscape Numinous', his latest miracle EP to hit the Primary(Colours) shelves. Honouring traditional dub techno sounds while also treading new counterweighted waters, this is a short symphony of reverberative basslines and delicate synths, reminiscent of skulking Tokyo streets, gripped by a hooded curiosity for the urban alley, the railway underpass, the red lit skyline. Brendon Moeller brings a UK bassier womp to 'Self Replication' - itself a self-replicating track, as there's not one but two versions - replete with silicate sound design that both sloshes and tinkles away in the mix's midfield, like a quantum energy source, overflown with potential.
Review: There's something unavoidably magnetic about the intersection between ambition and self-awareness and this release, by Charonne, Nemo Vachez, Umberto and T Oceans, knows exactly how to tap into that tension. With each track, there's an undeniable undercurrent of both vulnerability and swaggeriproducers twisting minimal beats into something far deeper, dragging you through shadows with a mix of melancholy and movement. You feel the weight of their collective sound but also their defiant lightness, straddling the line between introspective and dancefloor-driven music. It's a textured, driving release with an ever-present air of mystery.
Review: This new one on mysterious UK label MoonVoid Records serves up a trio of previously unreleased tracks that were originally recorded in the early 90s on tape cassette by Benjamin Wetherill under the Amethyst Moon alias. Apparently this EP is the first of a few, which is great news once you hear them. 'Lifestheme' is a crunchy and wiry electronic workout with fizzing synths and dense beats. 'Human At The Controls' brings slower rhythms and snaking synths and hissing hits while 'False Alarm (Look Over Your Shoulder)' spins you out in silky cosmic synths and snappy metallic snares.
Review: Hard, brash, EBM-informed EP goodness from 22Recordings' beloved AMQN, on an exclusive third outing by the artist for the label, and vinyl only at that. This elusive pusher of plaintive, grim new beat is a regular fixture of the label's Capitulo series, and only now does the artist see a full EP slot all to himself. A sophisticated sojourn in the distinctively janky pulse of new beat, an informed by the inexorably Italo rawness of tape-era coldwave, 'La Linea De La Vida' and 'Siempre Al Margen' hear AMQN command a bestial lyrical prowess and bring it to braggart beats, ending on the unabashedly squelchy denouement 'Inexplicable'.
Review: Griffe's next release is a flanged freakout from producer Booh, its namesake being the essential Star Wars villain, Darth Vader: while these tracks may or may not mark the Sith lord's nefarious adventures, we do know that they are stonking stuff. Sidestepping his own BOOOoo recordings for a moment, this meticulously produced pranger includes the freewheeling 'Briscard Sound' and the rubbery, jouncy 'Save The Date', marking some abstract future moment in techno to be anticipated. 'Dog Eat Dog' and the title are much more sinister, yet all tracks mark consistent use of adept modular synths.
Review: A compelling exploration of techno's diverse facets. On the A-side, Booh's 'HAL9000' delivers a relentless, industrial-tinged rhythm, its pulsating bass and sharp percussion creating an immersive atmosphere. Nizar Sarakbi's 'Black Forest Dub' on the flip side introduces a more hypnotic groove, layering dub influences over a steady techno foundation. The EP concludes with Sarakbi's 'Do It (5 AM Mix),' a track that evolves from minimalistic beginnings into a complex, driving composition. This release underscores both artists' abilities to blend traditional techno elements with innovative soundscapes, resulting in a dynamic and engaging listening experience.
Review: Dance music is rife with megalomaniacal personalities eager to carve their names in, well, whatever the techno equivalence of blue-plaque posterity is. Here, however, the producer Brother Nebula (Lance DeSardi), from Texas, flips the desire to delusively status-climb for such trifles on its head, inverting the idiom "delusions of grandeur" in naming their EP 'The Grandeur Of Delusion'. Informed by delusion or not, this is a grand EP, rendering the problematic of grandiosity somewhat moot: from dark future garage faceoffs ('Ice Giant', 'God's Green Earth') to brooding halftime ice floes ('The Grandeur...'), Nebula has thoroughly honed his craft since relocating to London, not failing to blur genre categories across borders, nor to compel with huge, still technical broken beats.
Review: Cosmic Tribe presents a reimagining of Calagad 13's acclaimed album with a collection of remixes from a stellar cast of underground artists. Erhalder's take on 'Unconscious Self' sets the tone with its driving techno energy, while Wicked Wes' remix of 'S-Cape' adds a touch of hypnotic darkness. Creasol's reinterpretation of 'Non-Duality' injects a pulsating acid vibe, while Alien Rave's remix of the same track explores a more atmospheric and ethereal soundscape. Cliff Dalton's mix of 'Chaos' is a high-energy stomper and 5zyl closes out the release with a deep and dubby take on 'Non-Duality'. This compilation is a testament to the collaborative spirit of the underground electronic music scene, offering a fresh perspective on Calagad 13's original work and showcasing the diverse talents of the remixers involved.
Review: Craigie Knowes delivers another stellar release, showcasing their knack for blending futuristic sounds with emotional depth. Side-1 kicks off with 'Head Down, Eyes Shut', a gripping techno track infused with sci-fi melodies and sharp electro elements that feel like a journey through uncharted galaxies. 'Spectical Soul' follows, bringing soulful Detroit techno into a sci-fi realm with awe-inspiring production, crunchy electro bass and an elevated, otherworldly atmosphere. Side-2 opens with 'Amber City String', a melodic and upbeat track that exudes fun and innovation with its next-level electro beats and playful energy. Closing the release, 'Sunrise On Saturn' ventures into darker territory, combining techno and electro with eerie, ominous tones that evoke the haunting beauty of outer space. This release perfectly balances emotive resonance and boundary-pushing production. Craigie Knowes continues to solidify their reputation as a powerhouse label.
Review: The opening track on this release struts with a rolling bassline that could anchor any dancefloor. Layered atop are sharp, metallic percussive hits, interspersed with an eerie, almost celestial synth line that creeps into focus. The music has a cinematic quality; each moment feels deliberate, as though you're stepping into a tightly woven narrative. There's a tension at play here, too-the kind that builds anticipation without ever snapping into predictability. Instead of delivering straightforward house tropes, this EP leans into shadowy, off-kilter rhythms that refuse to settle, keeping you just slightly on edge. These tracks are about crafting mood and movement, creating space for subtle builds and unexpected breaks. The result feels more like a journey than a destination-a story told through restrained but impactful instrumentation.
Review: Cignol is known as a master of the "refined machine funk sound", and while the exact determinants of this title aren't 100% exactly sum-uppable in words, we can sure gather what we think is meant by the phrase, judging by this latest 7" release via Unknown To The Unknown. This is a far-reached, sanitary end of electro, whose every element is as salinated as a freshly spritzed and wiped-down control room: on 'Botnet' and 'Suspicion', 808s and acid diphthongs respectively snap and oo-er with the clarity of birdsong in an isolation chamber, while each track gradually builds in structural integrity and intensity as time marches onwards.
Review: A vibrant homage to 80s electrofunk and disco, packed with lush grooves and melodic finesse. Side-1 kicks off with 'Freak', a shimmering track steeped in 80s-inspired electrofunk, blending sleek melodies with a polished, retro vibe. 'Last Days Of Cybotron' follows, maintaining the melodic theme with a funky, futuristic edge that nods to the electro era's pioneering spirit. On Side-2, 'The Chiller Thriller' slows things down with a cool, laid-back electrofunk groove, perfect for low-key moments. 'Radio Station P You' channels early 80s R&B funk and electro in the vein of the Gap Band, delivering a nostalgic yet fresh energy. Wrapping up the release is 'Sassy Strutt', an infectious fusion of funk and house with undeniable dancefloor appeal. This collection masterfully bridges the gap between vintage electrofunk and nu-disco, making it an essential pick.
Deborah Sasson & MCL - "(Carmen) Danger In Her Eyes" (Curses Revamp) (6:38)
Philadelphia Five - "Not Leaving Without Jerry" (Andi Revamp) (5:11)
JWB Hits The Beat - "House Fatale" (Curses Revamp) (7:01)
Voyou - "Houseman" (Stockholm Syndrome AU Revamp) (5:51)
Review: An EP that takes you through elevated 80s-inspired coldwave and synth soundscapes, matching nostalgia with modern production and featuring a seamless fusion of proto-techno, EBM and synth-pop. Side-1 opens with Deborah Sasson & MCL's 'Danger In Her Eyes' (Curses Revamp), a thrilling reimagination of new beat and synth-pop. The addition of vocal samples elevates its vintage essence, delivering a futuristic gem that's both haunting and danceable. Next, Andi's rework of 'Philadelphia Five's Not Leaving Without Jerry' injects energy with its uptempo groove, merging EBM rhythms with a dash of disco flair for an infectious, club-ready cut. Side-2 starts with 'House Fatale' (Curses Revamp) by JWB Hits The Beat, an ode to late 80s synth-pop akin to My Life with the Thrill Kill Kult. Chopped vocals and melodic synths create a hypnotic, era-defining vibe. Finally, Stockholm Syndrome AU's revamp of 'Voyou's Houseman' leans into heavier industrial and EBM tones, blending them for a powerful conclusion. This collection is a great example in reviving and reinventing vintage sounds, offering a fresh perspective on timeless styles.
Review: CYBERMISSION is back on INDEX:Records with a collection of tunes that were written in Berlin between 2021 and 2022. They all offer up signature styles that fuse the delights of luminous IDM-pop with uplifting electro rhythms. We're told that themes of self-discovery, deep romance and the bittersweet memories of what we've lost all inspired the creation of these cuts and that shows in their inescapable emotions and storytelling undertones. Both introspective yet designed to get you to show outward energy, these are five fresh and original cuts to get your new year off to a flyer.
Review: Darwin Chamber and DJ Spun unite for a bold four-tracker here that draws on all their decades of experience to push the boundaries of trance and techno. This self-titled release is nostalgic without sacrificing innovation and opens with 'Find The Missing Letter,' a dub-tinged techno builder with hypnotic synths. 'Digits' follows with relentless beats and dark, robotic energy. The sultry 'Do It All Night' anchors the EP with a seductive groove, while 'Ants' closes with mid-tempo warmth and acidic undertones. Combining Darwin Chamber's engineering expertise and DJ Spun's club culture mastery, this one is perfectly pitched for dancefloor mayhem.
Review: Uppers & Downers tap the raw, yet-to-be fully processed talents of Yerevan's Dave N.A., for a stunningly angelic nu-breaks come jungle come acid outing. Having co-founded his local Armenian ABC Community DJ collective, Dave N.A. attests his non-applicability to the normal, formal rules of dance music, declaring himself diplomatically immune to boring tempi, drab beats or morose melodies. Instead, the likes of 'Radiance', 'XL', and 'AIR' subject us to some of the most riveting soundscapes and shellages imaginable, drawing on a frenetic confluence of rave and hard bass traditional sonics.
Review: Canadian DJ and producer Marie Davidson returns with her latest single 'Contrarian', a collaboration with Pierre Guerineau and Soulwax, released via the DEEWEE label. Featuring a fierce blend of raw electronics, 'Contrarian' stands out as one of Davidson's strongest club tracks to date. Earlier this year, Davidson made her debut on the iconic DEEWEE imprint with her track 'Y.A.A.M. (Your Asses Are Mine)', reuniting with Soulwax, who had previously remixed her acclaimed anthem 'Work It'. This release continues to showcase her forward-thinking approach to electronic music production.
Dawn Razor & ArcheTech - "From Another Galaxy" (8:05)
Dawn Razor - "Good Morning MIR" (4:59)
Dawn Razor & ArcheTech - "From Another Galaxy" (Shed remix) (5:40)
Dawn Razor - "Jupiter Thrill" (4:37)
Review: Dawn Razor makes his mark on DEXT Recordings with a fresh release of deep, minimal, and atmospheric breakbeat techno. Blending intricate rhythms and ambient soundscapes, the tracks push the boundaries of the genres in a stylish fashion. The release opens with a collaboration with ArcheTech which is loopy and kinetic. Additionally, legendary German experimentalist Shed provides a remix that reimagines the original track with his unique, forward-thinking approach and physical drum programming. Two Razor solo cuts explore floating and airy techno rhythms that soothe the mind.
Review: Four killer electro anthems from Die Gestalten, the multiplicitous moniker behind whomever it is that also operates the long-serving German label of the same name. Panther Schallplatten promise no repress, and yet also no "games, faces or bling bling", offering a tempting tradeoff between limitation and candour. 'Unsere Waffen' and 'Kaltland' establish versatility enough on the A-side alone, the former track serving an acid aperitif backed up by joggling chord cuts and blooming arps, the latter following on via a nouvelle cuisine "heater" on ice; twinkly cubes inside a sonic seafood chiller, and steamup windowpane breaths in the surround mix. The B-side is a comparative voider , 'Das Universum' working in huge hooverish synths and the surprise 'Vorort' erring nervous breakdance tool.
Review: One of two Die Gestalten releases to make itself manifest in 2024, the elusive German electro moniker once again take(s) a heavy UR inspiration to a looser and more contemporaneous end, laying down four killer electro tools for the more tenacious tune selector. With this record described by the label as "made by a completely unknown source out of nowhere", to use the word "elusive" to describe this act would be an overstatement; check their back catalogue for an audio-induction, as it's technically all you'll need. The visage-obscurant 'Erinnerungen' and follower 'Du Bist' sound like clanging Martian mashups, nailing a certain mood of cartoon suspense, one often heard in the Platonic sci-fi soundtrack immediately after a plot-essential crash landing. 'Der Wanderer' closes on a much dourer note of animalistic acid, signifying much less than the A besides a comparatively carnal all-consumption.
Review: DIMDJ's newest 12" seamlessly fuses techno, electro to ambient and house, with opener 'Next On Next' proving to be a deep, heavy analogue production that features expertly sequenced toms and rave-inspired claps, creating a rich, driving beat. 'The Path' follows with its electro-machine aesthetic, brimming with mechanical warmth and rhythmic intricacy. 'Cashe' rounds out the side with vintage electro-funk vibes, blending futuristic melodies with timeless grooves. Side-2 shifts into more atmospheric territory. '10th Of May' is a dreamy balearic gem, wrapping ambient house textures in a sun-soaked haze. 'Crash' slows the pace, offering heavily processed downtempo with a reflective, cinematic feel. The EP closes with 'Ampi 00 Patern', a haunting piece of alien ambience, evoking the eerie stillness of a distant, uncharted planet. An inspiring journey through DIMDJ's artistry, weaving diverse moods and styles into a very enjoyable trip into melodic electronic music.
Review: DJ 1985's We Trippin' on Emotional Especial Records offers a unique blend of styles across four tracks, each showcasing an original sound palette hitting many subgenres under the electronic music umbrella. Possibly helping invent a few too. Side-1 opens with 'We Trippin',' evoking early AFX with its analog beats and whimsical, melancholic melodies. The track's modular bassline and subtle acid elements create a rich, nostalgic atmosphere. Following this is 'Dolphins & Sirens,' which blends Balearic influences into a smooth, laid-back groove that feels effortlessly cool. Is Balearic electro a style yet? On Side-2, 'Catland' presents a cinematic, acid wave-inspired experience. Its spatial effects, echoing sounds, and beachy undertones make it feel like a trip through a surreal movie soundtrack. Is Acid Wave a genre yet? The final track, 'The Last One,' features smooth synth washes and a futuristic, melodic vibe paired with an urban beat, rounding out the EP with a forward-thinking, sophisticated touch. We Trippin' is a standout release for those who appreciate a diverse, genre-blending approach to electronic music, offering a journey through various sonic landscapes.
Review: The Trails label, as is often the way in so many cases in electronic music, is the natural next step for the party crew of the same name. Having established a sound and a community, they now branch out with music from associated producers all keen to offer up their shared musical visions. First up, the label introduces friend and graphic designer Bogdan N?stase aka DJ Bogdan. Setting a fine tone from the off. the EP explores melancholy, introspection, mystery and hope, all infused with a nostalgic nod to 2000s electro-techno and synth-pop. The A-side opens with 'Shade Detector,' an energetic peak-hour anthem which is followed by the melancholic 'Freakshow Parallax' for after hours. The B-side features 'Videofreex,' a versatile party gem before closer 'Fantana Cartezian?' is a twisted minimal techno homage to Bucharest's lost history.
Review: DMX Krew is an artist who will always get electro lovers excited. His levels of quality are rarely surpassed and he is always pretty busy too. This time he links with DVDE on the fledgling House of Underground label for a deep take on his signature sound. 'Set Free (feat Robert Owens)' has the tones of Chicago house royalty and soft acid, lush bells and languid grooves. 'Lost In Music' also has Owen on it, this time chopped up with a darker groove. 'Gangster Acid' slows down and brings 80s Windy City claps to a frosted bassline and 'Madness Of Rhythm' is an early techno banger with wiry synth madness.
Review: Robert Drewek vs Tomie Nevada's 'Time 4 More' EP was originally released on Unleash Records in 2005. Nine years on and Rawax are reissuing it on black wax and the tunes sound as good as ever. 'While He's Away' is a slick blend of garage-infused house drums and warm synth pulses with catchy vocal samples that bring a hint of old school. On the flip is 'Down With the Bass' which flips the script with a stripped back and militant but silky groove, dubby pads and a head's down vibe that really hypnotises.
Review: With over 15 years of history behind it, Detroit's Cryovac label is run by producer Andy Garcia - who also happens, conveniently enough, to be an employee of the local pressing plant, Archer Record Pressing. They've released countless V/A and split 12"s, inevitably of high quality, with this one being no exception. Divided between Drivetrain on Side-1 and a certain A Garcia & M Kretsch on Side-2, it achieves a dynamic equilibrium between foundational Motor City sounds and inventive exploration and innovation. Drivetrain's '3am' is a driving electro-infused track that merges funky rhythms with melodic touches, crafting an atmosphere that is futuristic and engaging. 'Discipline' follows, bringing a raw, classic techno energy that feels timeless, with its steady groove serving as a reminder of the genre's impactful origins. The flip sees Garcia & Kretsch delve into different sonic territories. 'Ai_me' pulses with influences from Detroit and Chicago's late 80s underground, delivering a rhythm that's robust and propulsive. Rounding out the EP is 'Squeaker', a brooding piece that creates an unsettling yet intriguing landscape, blending eerie tones with an alien-like ambiance. Bridging techno's historical essence with forward-thinking creativity, this release's balance of nostalgia and innovation ensures it will resonate with listeners from across eras.
Review: Mike Dunn is a real house OG. His style has always been to lay down raw as coleslaw drums and prickle them up with synth sounds that are blistering and caustic. He goes right back to his roots here and serves up a trio of cuts From The Beginning which show just that. '43:31' a stripped-back acid sound with a low-key groove, 'Acid Feet (Phaze 1)' is a wonderfully undercooked analogue sound with tinny hits, rickety drums and pulsing synth sounds that take you right back to the earliest house sounds and 'Time Machine' is a minimal drum track.
Review: Given that both producers are underground titans, traversing the blurred lines between disco, acid, deep house and wide-eyed dreaminess, you'd expect this two-track collaboration between Eddie C and Keita Sano to be pretty darn good. It is, of course, with the pair carving their own mind-mangling, breathlessly energetic niche on 'Disco Universal' - a certified throb-job in which trippy noises, exotic instrument samples and pulse-racing electronic motifs rise above a thumping beat and Italo-disco style sequenced bassline. It slows down midway through, 'French Kiss' style, before the duo brilliantly bring it back to a peak-time tempo. They explore sub-heavy, garage-influenced deep house and breakbeat pastures on the dreamy, weighty, impactful and acid-fired 'Joy Joy Joy', once more showcasing the diversity of their musical influences.
Review: Diagonal Records gives itself over to Australian rising star Jonus Eric, who is sure to have a big year if this is anything to go by. His new EP follows on from a fine recent outing on Gerd Janson's Running Back and once again it finds him serving up six tracks of sample-rich, psychedelic house music with a loveably rase aesthetic. it; shard not to hear the sounds of Theo Parrish echoing through the mechanical house sounds of opener 'Darkwhirl' then the funk-driven 'Crimewave' cuts more loose, the gnarly 'Shapeshift' contorts body and mind and 'Polarity' is a 90s IDM-infused finale. What a trip!
Review: Eris, aka. Enrica Falqui and Dea Dvornik, mint the Plexus 4 label with the 'Glimmers' EP. New outings breed novel vibes; so too does this exciting new house pairing bring future-facing, melancholic electro-progressive flavours to the table with opener 'Kundalini Rising' and A2 ensuer 'Serpente'. Both tracks shimmy and plod through the twinned vibes of alien atmospherics via a driven whimsy, nailing a sweet interplay of seriousness and affability. B-siders 'Anticipation' and 'Game Over' contrastingly move more minimal with things, using, revelling in the natural monophony of, their various analog synths, their delectably dedicated studio gear. The final track ends on an eerier note, suggesting murkier future ambi-topias to navigate.
Review: Gerard Hanson, known as techno don Convextion, delivered three deep electro gems as ERP for Frustrated Funk and the cuts were soon regarded as mini modern classics. As such the EP gets reissued on blue vinyl and from the off he lays down a killer moody electro-funk vibe with the elastic basslines and emotive synth strokes of 'Luctu.' The B-side 'Tuga' captivates with its beautiful strings and harmonised synths, while 'Pith' charms with its hushed, In Sync-style drum machine rhythms and a nocturnal vibe. Hanson's rich, emotive electro-artistry is fully on display here.
Review: Escape Artist makes their label debut on Craigie Knowes with Far Away Places, a 12" that captures the final moments of European summer while embracing the Southern hemisphere's party season. This four-track release delivers expertly crafted tunes, blending deep grooves and soaring melodies, perfect for lifting both dancefloors and spirits. Each track stands out with its own distinct energy, offering a versatile sound that suits everything from underground club nights to outdoor festival stages.
Review: Ferrari's Terrooooir takes a more restrained approach to electronic music, with each track unfolding at its own pace. 'Terrooooir' kicks things off with steady percussion that forms a solid foundation, while the atmospheric synths gradually build tension without overwhelming the listener. 'Echoes of Silence' leans into ambient territory, the bassline providing a subtle drive beneath the delicate pads, creating a sense of calm. In contrast, 'Midnight Mirage' adds more bite with syncopated rhythms that bring a bit of urgency, though it never disrupts the EP's overall flow. Closing with 'Fading Light,' the track combines melancholy with an undercurrent of energy, leaving a lasting impression with its refined balance. Ferrari's ability to create space and movement within each track shows a strong command of electronic music's subtleties.
Review: Fidelio and Luca Piermattei hook up here to explore worlds where acid, techno and electro all happily coexist. Fidelio's A-side offers three cuts that fuse 90s acid rawness with baroque drama that results in a unique mix of classical organ melodies and razor-sharp basslines. Punchy kicks and sizzling hi-hats drive the energy as you're happily lost on a neon-lit techno odyssey. On the flip, Piermattei's 'Gas' features a fluid bassline and glitching robotic vocals that are eerie yet inviting and 'Third Rec' (with Tascam 122) rounds out the release with pulse-driven electro and intricate percussion, perfect for late-night explorations.
Review: Detroiter Gari Romalis may have a long and storied history - he made his debut under an alias in the late 1990s - but it's been a while since he treated us to a new 12". The Motor City producer is in fine form on this pleasing varied EP for Buenos Aries-based Saskobing Records. On side A he pays tribute to the hybrid New Jersey garage/prototype UK garage sound of Todd Edwards ('Club Land'), before doffing a cap to hometown electro heroes Drexciya on 'Journey'. Romalis' love of subtly soul-fired, retro-futurist deep house joy comes to the fore on 'Itz On', while 'MOD (Masters Of Destiny) Mind Body and Soul' is a locked-in, beatdown-influenced slab of tactile dancefloor hypnotism. Closing cut '4', meanwhile, sounds like a long-lost Egyptian Lover jam.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.