RRoxymore - "Ministry Of Silly Talks" (Lena Willikens remix) (6:22)
Review: Here's something to set the pulse racing: a pair of thrilling new Lena Willikens remixes of tracks from the Huntleys & Palmers' back catalogue. She begins by taking on Oklo Gabon's muscular electro-disco smasher "City Gym" from 2015's Chapter 2 compilation, reinventing the mystery producer's original as a creepy chunk of horror-informed EBM (think undulating synthesizer melodies, foreboding bass and clanking drum machine percussion). On the flip, the Salon Des Amateurs resident re-interprets Rroxymore's 2014 cut "Ministry of Silly Talks", craftily turning it into a stylish and occasionally unsettling chunk of analogue-rich EBM hypnotism. As you'd expect, it rises and falls in all the right places, with Willikens wringing every ounce of atmosphere from Rroxymore's wavering synthesizer lines.
Review: Given that One Circle is formed the trio of Editions Mego artist Lorenzo Senni, Monkeytown artist Vaghe Stelle and soundtrack composer A:RA, their debut for the consistently excellent left_blank label is as skewed a trip into experimental techno's wormhole as you'd expect from such a union. Whether it's the ectoplasmic Kompakt vibes of title track "Flight To Forever", the stuttering rhythms and euphoric synths of "Delta City" or the Fade To Mind grime via Eurosynth of "Please", there's enough here to make One Circle well worth a look for inquisitive electronic minds.
Review: Despite building his reputation as a creator of tough, left-of-centre club material, Objekt is smart enough to realize that the full-length format offers more room for experimentation and personal musical exploration. Like its predecessor, 2014's "Flatland", "Cocoon Crush" rarely goes in search of dancefloor thrills, instead offering up a refreshingly eclectic, fearlessly experimental take on off-kilter electronica that not only draws heavily on IDM, glitch-hop and ambient, but also regularly veers from glassy-eyed, melodious positivity, to intense, paranoid darkness. It's a blend that guarantees great results, and we're not surprised if he jettisons functional club music for good.
Review: Ochre's 2004 album "A Midsummer Nice Dream" has long been considered something of an underground IDM classic - a perfectly produced set that sits somewhere between the melodic warmth of Plaid, the cheerful bliss of Boards of Canada and the twisted-but-ear-catching brilliance of Autechre's "Amber" LP. In honour of its 15th birthday, Spanish label Lapsus has secured the rights to reissue it on vinyl. Given that original "wax" copies now change hands for vast sums online, this is a very good thing indeed. This time round, the original 14-track set has been expanded via the inclusion of a trio of previously unheard tracks recorded during the same period. These can be found on side 4 and are every bit as good as the material that originally made the cut.
Review: Octachoron is a new project from ambient techno sort and V.C.V.S member Sandro Kozmanishvili and Bakur Metreveli. Sandro is an artist best known for his work under the Hanker alias. For the most part, Land of Meta - the debut Octachron release - is far more positive, melodious and obviously ear-pleasing than some of Kozmanishvili's previous work, serving up tracks that variously draw inspiration from the deep space ambient of Pete Namlook, the hypnotic "kosmiche" workouts of Tangerine Dream and Harmonia, 1980s new age, early '90s ambient techno explorations and, in the case of "Microwave Background", the twin out-there joys of dub techno and bubbly electronica. In other words, it's a very strong debut album.
Review: Having firmly established himself as one of the foremost experimental producers of the past decade with albums like Replica, Returnal, and Rifts, Daniel Lopatin here makes the logical move to electronic music bastion Warp Records. On first listen R Plus Seven is quite unlike any of his other records, largely eschewing the arpeggiated drones of his early work and sample-based collages of his last album for something much more vivid. Coming across like a combination of the emotive minimalism of Terry Riley and Steve Reich, and the hyperreality of James Ferraro's Far Side Virtual, R Plus Seven nevertheless stakes its own claim in the world of post-everything electronic music, combining delicate, introspective moods with shocking moments of recognisable sonic signification. Quite possibly Lopatin's best album to date.
Review: NYC sound artist and Software label boss Daniel Lopatin is back with his eagerly awaited eighth studio album. A self-proclaimed 'cybernetic rock' album influenced by his time touring with Nine Inch nails and Soundgarden in 2014. There's '"Ezra" which reaches near trance moments, the glitchy R&B digitalism of "Sticky Drama" which features a turn, mid track, reaching a level of mayhem comparable to Shapednoise. There is a moment of what we can only describe as 'indie trance' on the psychotic epic "Mutant Standard". Not forgetting the disturbed nu-gaze of "I Bite Through It", a real highlight on here. Commercial music was said to have influenced the album too. "Freaky Eyes" and "Lift" deconstruct pop music via sampling/resampling and loop points, adding Lopatin's own bizarre intricacies on top. He has undoubtedly become known as one of the most unique voices in electronic music today and this is further testament to his standing. Difficult listening for curious ears.