Review: ***B-STOCK: Box damaged, product unused & in perfect condition***
- Creasing/small tear to corner of sleeve
Having previously been responsible for a number of themed compilations for Versatile Records, the Acid Arab crew has finally got round to delivering its' first album of original productions. Naturally, it continues their theme of blending North African and Middle Eastern sounds - be it vocals or instruments - with drum machine rhythms and vintage synthesizer sounds. This, though, is where the similarities to their previous work end. While there are a few house-influenced cuts dotted throughout (see the brilliant "Sayarat 303"), for the most part Musique De France veers further towards off-kilter electronic pop. Along the way, they doff a collective cap to new wave, punk-funk, and hazy indie-pop. While it may lack the crackling energy of their more dancefloor-minded productions, it's still a hugely enjoyable set.
Review: Having previously been responsible for a number of themed compilations for Versatile Records, the Acid Arab crew has finally got round to delivering its' first album of original productions. Naturally, it continues their theme of blending North African and Middle Eastern sounds - be it vocals or instruments - with drum machine rhythms and vintage synthesizer sounds. This, though, is where the similarities to their previous work end. While there are a few house-influenced cuts dotted throughout (see the brilliant "Sayarat 303"), for the most part Musique De France veers further towards off-kilter electronic pop. Along the way, they doff a collective cap to new wave, punk-funk, and hazy indie-pop. While it may lack the crackling energy of their more dancefloor-minded productions, it's still a hugely enjoyable set.
Review: ***B-STOCK: Box damaged, product unused & in perfect condition***
- Creasing to corner of sleeve
"It's like painting with button and sliders... Melting and dripping, seeping yourself liquid into the machinery." So said Darren Cunningham when discussing the creation of R.I.P, his long awaited follow up to Splazsh. It's a compelling image that works in practice too. R.I.P creates microcosmic sound worlds within each track: "Holy Water" for instance tumbles in on itself in a melange of shimmering sine wave droplets, while the pitch shifted waves of "Tree Of Knowledge" seem to inhale and exhale like a living being, crumpling inwards on itself to repeat the same motion ad infinitum. And although it uses much the same, occasionally abrasive sonic building blocks as Cunningham's been developing for many years, the pastoral tones of "Uriel's Black Harp" and the Alva Noto styles of "Jardin" make R.I.P a surprisingly graceful album. It may not be techno as many will know it, but Cunningham has never made techno in the traditional sense anyway - and it's clear on listening to R.I.P that he's only just beginning to realise the musical forms that have been swarming inside his brain for years.
Review: Three years have passed since Alessandro Adriani impressed with his debut album, an industrial, EBM, techno and neo-trance inspired set that marked the Berlin-based Italian as a producer on the rise. "Morphic Dreams", his belated sequel, may explore some of the same influences, but Adriani's vision seems far more widescreen. Check, for example, the decaying urban ambience of "Casting The Runes", the buzzing and bubbling synth-wave throb of "Raindance", the tactile slo-mo bliss of Simon Crab collab "Dust/Mist" and the grandiose, rising intensity of dystopian soundscape "Crow". There are, of course, a number of muscular, EBM-influenced club cuts, with the Nitzer Ebb-esque "Dissolving Images" and fizzing "Storm Tree" standing out.
Review: Barely six weeks after dropping her debut single on River Rapid, Henrietta Smith-Rolla pops up on Skam with a surprise debut album. As first full length excursions go, "Break Before Make" is undeniably impressive. Beginning with the spooky, minor key electronics and angular IDM rhythms of "Day Turner", the 14 track set sees Smith-Rolla successfully turn her hand to bittersweet synth-wave ("And!"), dystopian pitched-down electronica ("Guess What"), spacey electro ("Work It", "Wtfwtfwtf"), clandestine electronic soundscapes (the panicked shuffle of "Blanket Ban") and grandiose sci-fi soundtrack fare ("The Middle Middle"). Throughout, the Manchester-based producer consistently delivers otherworldly musical melancholia with a panache not associated with a producer of her relative inexperience.
Review: Back in 2008, noted experimentalist Alva Noto began a sporadic series of albums that were far more focused on dancefloor-inspired rhythms than his usual eccentric and inspiring fare. Unieqav is the third and, we're told, final part of the series. The album is apparently meant to be a sonic representation of an underwater dive, a conceptual theme which manifests itself through the storied producer's use of deep and atmospheric chords, fluid and occasionally glistening electronics, and rhythms that evoke images of ever-deeper dives into the dark, cold depths. Rhytmically, there are nods to electro, IDM, dub techno and Autechre, though the mood remains laidback and intoxicated throughout.
Review: Berghain resident Patrick Graeser returns as part of the Ostgut Ton family, with his second full length opus. Much like his 2014 debut Code, Graeser has honed a hybrid musical approach that stands out in a world of uniform 4/4 techno - as heard over the years on MDR, Music Man and of course his own Answer Code Request imprint. Gens is a diverse yet cohesive affair, between the more straight-ahead tracks like "Knbn2", "Cicadae" or the particularly seething "Sphera" (which are breakbeat driven, bass-heavy and UK inspired), there are some mentalist IDM journeys ("Ab Intus/Audax") and even breathtaking ambient moments like "Orarum" and "Mora". Brilliant stuff.
Review: Despite becoming a serious force in the contemporary techno scene over the last seven years, Antonin Jeanson has never released an album. He's made plenty of killer 12" singles, but for one reason or another has never applied his trademark style to the long-playing format. It's perhaps a surprise then, that his debut album, "Rising", is a near perfect example of a modern techno album. There are quite a few atmospheric and ear-catching dancefloor workouts - see the bustling beats and creepy electronics of "Perchance To Dream", the dark throb of "Duality of Mind" and the slamming psych-techno of "It Follows" - but also more considered, left-of-centre trips into IDM, ambient techno and otherworldly ambient territory. It's these diversions that make the album such an entertaining and rewarding listen.
Review: Borderland sees the illustrious Juan Atkins & Moritz von Oswald join forces for an album of meditative techno for Tresor. The partnership marks the first time Juan Atkins and Moritz von Oswald have directly collaborated in 20 years, though both have regularly assisted each other's work behind the scenes. Von Oswald played an important role in engineering much of Model 500's R&S catalogue, while Atkins supplied his mixing craft and two edits on Thomas Fehlmann & Moritz von Oswald's early '90s project 3MB. This eponymously titled album is skewed toward club-orientated electronic music blessed with a freedom for organic musical experimentation and expect to sink into a soundscape where melodic and textural motifs float in and out of focus.
Review: To coincide with the twenty-fifth anniversary of Berlin club Tresor, Juan Atkins and Moritz Von Oswald have released a second Borderland album together. It begins in ominous mode, with the title track's brooding bass tones casting a long, dark shadow, but the pair soon find a way to break away from the gloom with the mesmerising chords and heavy rhythm of "Lightyears" and the wonderfully spacey Detroit techno of "Riod". Both "Odyssey" and "Merkur" push the tempo back down but keep an emphasis on hypnotic, woozy textures, snappy drums and jazzy tones, while "2600" shows that Van Oswald hasn't lost his ability to craft dub-heavy, dreamy techno.
Review: Over the last four decades, we've come accustomed to veteran electronic experimentalist Uwe Schmidt surprising us with each successive album. Even so, we were still pleasantly surprised by his latest Atom TM release, whose title - Walzeryklus ("Waltz Cycle") - offers a hint to his latest inspiration. Recorded with angel-voiced singer Lisokot, the album is entirely made up of tracks recorded in the 3/4 time signature of classic waltz. Naturally, these waltzes are unlike anything you'll have heard before, variously taking in neo-classical inspired ambient, eccentric left-of-centre synth-pop, bubbly electronica, fizzing Rephlex style "Braindance" and even a gtouch of wonky, mind-altering techno.