Review: Current heroes of the industrial techno sound here tend to focus on the industrial side of things for The Cast Project: a vinyl affair from Los Angeles based on the collective sounds from a faction of artists. They are said to gather a few artists; each of them providing several unique audio samples, clips and/or field recordings that best define their sound. They then collect the samples from each artist and redistribute them to the artists as a master pack, at which point they create a unique track. First up fellow Los Angeleno Luis Flores delivers the grinding and guttural first offering, while 138 then delivers some impressive Autechre styled IDM on his/her effort. On the flip, Dutch terroriser Bas Mooy delivers a furious and powerful warehouse techno stormer that blows the doors off as always. Finally Serbian duo Ontal deliver some more of their typically contorted takes on techno.
Review: 10 Germany seem to get it bang-on each and every time! For a label who has released the likes of Ancient Methods, Perc and Matthew Herbert, among other legends, we'd expect nothing less than the spectacular and this is exactly what we got with this latest collaborative effort by Italy's Daniele Brusachetto, Jansky Noise, Human Larvae and Damaskin. Brusachetto's "Grigi Ma" is weird and wonderful pop tune set against a backdrop of cavernous percussion rattles, while Janksy Noise's "Black Night" is a full-on drone monster. Over on the flip, "Ruined" by Human Larvae is a fuzzy, noise-fuelled scorcher, and "Apocalypse" sees Damaskin produce the EP's only shred of rigidity thanks to its consistent 4/4 kick...accompanied by some rather gnarly power electronics, of course.
Review: After kicking things off with the killer "Mariachi Guadalajara" by Lewski, Or:la's Cead label returns with another emergent talent, Blu Terra. The Warsaw based producer comes on strong for this breakthrough release with the heavy slapping, sound design-enhanced electro of "Person Sans". Even if the opening track felt detailed, it's superseded by the barrage of information spilling out of crafty, distinctive acid monster "20,000". "Western/Eastern" spreads across the B-side in a nervous twitch of rave energy geared towards big dark spaces, perfect for that spine-tingling part of the night when the real world feels very far away indeed.
Review: You could say that Kodiak Bachine is Brazil's greatest ever Brazilian electronic producer. That would not be an overstatement, it's just a simple fact. It was 1982 when he first released this EP, and it's been a classic, and a favourite of ours, ever since. In fact, "Electricidade" is so powerful because it sounds like it could have been made today; its tenebrous synths filling the airwaves from every angle, giving the track a strange sensation of lust and wonder. The flip, "Espirito Das Maquinas", is another enchanting ride through broken electric cables and abandoned power plants, a place where Bachine clearly thrives and surpasses all expectations. Highly recommend reissue!
Review: For their ninth release, Berlin's mindcolormusic present another stellar release by a debutant, as well as an old schooler. Shane Teal aka Flux is based out in the Pacific Northwest U.S.A. and is said to have been recording music for over a decade, making anything from electro to drum and all that's in between. All these disparate influences can be heard on the unholy mixture of "2linx" which comes off sounding like some broken-beat offworld IDM experiment - and sounds pretty awesome. On the flip, it is over to Eddie Symons: a veteran producer based in the UK, who after releasing on his own Struktur and [d]-tached imprints, made his debut as Bovaflux for the Highpoint Lowlife label back in 2005. Four deep and dystopian electro bass offerings from Symons here, and we particularly enjoyed the Aphex/Autechre spounding melancholia of "Lmp_Nrg".
Review: At first glance, French enfant terrible Bambounou is a surprising addition to the Diskant impint - now known as just Disk. Known for his techno and house exploits on Clek Clek Boom and 50 Weapons, his knack for intricately programmed rhythms were on display even back then. It kind of figures that he'd be a good choice for the label, come to think of it now. That's certainly proven across the three tracks on the Parametr Perkusja EP, where his sound sits comfortably alongside label mates like Harmonious Thelonious and Durian Brothers. From the slo-mo esoterica of "Dernier Metro" which reaches near tribal moments, the hard hitting polyrhythmic techno of "Kosovo Hardcore" it is great to hear some original productions from him after lengthy absence.
Review: Last year Burial and the Bug joined forces as Flame 1, delivering an in-demand EP on the latter's Pressure label featuring two sizable slabs of industrial strength soundsystem science. Here they return as Flame 2, once again offering up a pair of weighty dancefloor excursions. A-side "Dive" is a loud and claustrophobic affair, as the duo wraps dystopian dub bass and sparse, mutilated post-drill rhythms in layers of apocalyptic aural textures and mind-altering dub techno style processed noise. Flipside "Rain" is arguably more suitable for dancefloor plays and sees the esteemed twosome combine pulverizing sub-bass heaviness with dancehall style drums that come smothered in mind-melting effects and paranoia-inducing aural smoke.
Review: You wait ages for a Bezier record, and two come along at once. Following hot on the heels from his excellent Telemores mini-album for Dark Entries, synthesizer enthusiast Bezier drops a surprise 12" for the affiliated Honey Soundsystem. As usual, the French producer has his sights set on mining the past for inspiration. "Mina (Everywhere)" begins in typical fashion - all spacey synthesizers and twinkling melodies - before morphing into a relentless chunk of dirty, Italo-and-EBM inspired house. The pleasingly sunny "Serengeti Drive" is more of a stripped-back Italo-disco bubbler (admittedly with dream-wave flourishes), while "Mysteries of the Deep" offers an intergalactic romp through cold-wave pastures with only cheap old synths and drum machines for company.
Review: Brothers From Different Mothers stalwart Basses Terres is a producer to whom easy categorization cannot be applied. For example, on his 2016 debut, he rushed between a quartet of experimental techno, leftfield and electronica excursions, while 2017's "Counting Pulsations" cassette was a druggy trip rich in ambient, dub and "dungeon synth" flavours. So what's on offer here? More intoxicating, otherworldly concoctions, that's what. Highlights include the dark tropical ambient of "665 Moths", the dubbed-out post-dancehall weightiness of "Wilfred Doricent", the slipped and spacey electronica of "Deliae" and the fluid dreaminess of gently percussive closing cut "Sentiment Oceanique".
Review: Bambooman (real name Kirk Barley) is a London based producer who presents his fourth release on Matthew Herbert's Accidental imprint - which follows up last year's terrific long player, Whispers. His new offering is the trippy minimal techno kicker "Ricochet", with its sparse arrangement revolving around a stuttering bassline and nasty chord stabs awash in plate reverb. On the flip, the man himself Herbert steps up to deliver a wacky and glitched out remix in his own truly idiosyncratic style once again.
Review: Texas club music icon Lotic continues Bjork's makeover on One Little Indian with another beautiful 12", cropped and packaged in a gorgeous silk-screened bag. Bjork's "Notget" had already been retuned by Lotic, but this time he returns to the turn with his Fromdeath version, jumping from solitary drones to broken shreds of power electronics, tribal drums and gun shots. It's a jagged, wayward affair for the more adventurous disc jockey, and one that will please both the floor shakers and the brain melters - this tune is only a shadow of its original self, and it comes as this week's top of the tips..!
Review: The partnership of Kassem Mosse and Beatrice Dillon; Dillon Wendel is a place for the two respected artists to explore soundscapes, aesthetics and synthesis in pastures aeons away from the dancefloors they're most familiar with. Both compositions weighing in over 15 minutes, they're experiences which challenge form and convention; "Pulse" ripples with its namesake, a texture that buzzes and drones in endless waves while "High" mutates a warmer, grainer tone with dizzying effect.