Review: Anton Klint first came to our attention thanks to a handful of EP's that he dropped on Munich's Public Possession label, but while we were already big fans of the imprint's work, it was Klint's singular take on house and disco that attracted us. This latest two-tracker comes via Sweden's IDEAL label, and the producer offers something a little darker and more experimental compared to his previous escapades. "Personalmote" is a fuzzy, broken tune that verges on house but never quite fully rids itself of a tribal, stepping kind of vibe. On the other hand, "Efter Stangning" churns and drives away at a more classic deep house level, but Klint nevertheless injects a noticeable layer of something altogether more exotic. Twisted, dystopian house beats would be the best way to some this up.
Review: Malmo's Henrik Rylander had been missing from the scene since 2014, the year in which he released both an EP and and album, the former through his native iDEAL Recordings. He's back on said imprint with an LP comeback, or rather six segments of high-energy industrial funk slush cut directly from their analog source. The results are endlessly pleasing, of course. What we love about this LP, spearheaded by the first two tunes called "Unholy Connection" and "Feed Treatment", is the music's subtly and restraint, choosing to focus on a few metallic sounds to develop, rather than the usual blockade of sonic filth that characterises the noise subgenre. "Form To Function" is even more minimal in its choice of sounds and melodic shapes, which fall back into a more electric swing of drones on the flip's "Slide Parallel Knives". "Somnolentia" is a foreboding cavern of jagged, monophonic shards, and the closing shrieks of "Mean To An End" help to give this fantastic LP its final burst of doom. A highly recommended affair.
Review: Jean-Louis Huhta is a long-standing veteran of the Swedish underground, from roots in punk and industrial through to an illustrious if somewhat low key life in techno. His Dungeon Acid alias heralded a return to the fundamentals of machine music, and gets more intriguing with every release. This self-titled album on iDEAL gives a wonderfully widescreen impression of his style, where atmosphere and textural individuality are just as important as the beats. At times the electronics are joyously weird, as on unhinged acid burner "7Y02", and elsewhere a more exotic, head-nodding melange emerges. Just stick on "4R01" and find yourself transported to a most curious, utterly wonderful synthetic tropicalia.