Review: Following up appearances by veterans such as Josh Wink, Hardfloor and Acid Rain (Milton Bradley), Dame Music takes no prisoners on the third installment of The Melting Pot, delivering another series of unrepentant 303 ultraviolence. Label chief Bloody Mary steps up to deliver the punishing and disorienting psychedelia of "Acetic" awash in gliding resonance from that little silver box plus clattering 909 mayhem. Splice then lunges straight for the jugular on "Tactile", a frantic session where the abrasive overdrive of the kick will have you begging for mercy. Finally, the legend Thomas P. Heckmann returns since his appearance on the series' first episode - he delivers the seething restrained fury of "The Space Between".
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 Even if the opening track felt detailed, it's superseded by the barrage of information spilling out of crafty, distinctive acid monster "20,000".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: UK dub techno maestro Steve O'Sullivan is back with another payload of deep immersion heaters under his Bluetrain guise, this time on the Future Primitive label. There's a deadly restraint at work on "Congo Shuffle", where the elements get reduced to needlepoint precision and the low end rhythm section stalks with purpose. "Invisible Guest" takes things in an explicitly dubwise direction, channelling serious Rhythm & Sound vibes for an immaculate head-nodder, before "Paralyzed Dub" slows down further into an end of the line skank for the weary to find solace in - masterful movements in the echo chamber from start to finish.
Review: Not On Earth's first release sold out in quick time - unsurprising given the reputation of Frankfurt based founders Bodin & Jacob. Their second is a various artists affair that shows off some of the talents they have unearthed, while Bodin also reappears with "A Walk In The Park." It's a brilliantly militant cut with clipped, marching beats and rasping bass squelches, and elsewhere Philipp Boss opens the EP with the slippery electro rhythms of "Lava". Griezman's "Decheterie" is an uptempo bit of proper first wave tech house a la Terry Francis. Closing out this more than handy EP is the hard edged electro-tech of "Zoober" from Martyne.
Review: Following up some great ones by Mark Archer, Waveguide a.k.a Stereociti and newcomer Vivian Koch, Scottish hi-tech soul engineer Stephen Brown makes a welcome appearance on Berlin imprint a.r.t.less with his idiosyncratic brand of emotive techno. You really can't fault anything by this stalwart of the scene and the Sweet Nothing EP is no exception: from the Detroit style bounce of "The Venue", to the title track which could match anything John Beltran has done in the art of glassy eyed and bittersweet epics. On the flip, we particularly enjoyed the cavernous and glacial chill of dub techno excursion "Cedar Wood".
Review: Benjamin Brunn and Dave Wheels are old studio buddies, having worked together on and off since 2006. "2000", though, is their most ambitious joint project yet: a collaborative album for Sushitech that offers up breezy, melodious and cheery fusions of heady dub techno, gentle electronica, chugging sofa-friendly haziness and glitchy late night hypnotism. It's an interesting blend but one that certainly hits the spot. Highlights include the horizontal pulse of "Orainge", the wonderfully hypnotic after-hours throb of "Iratamoto (Version)", the bold and sun-kissed undulations of "In The Club" and the pie-eyed warmth of "Waldeck".
Review: Russian enfant terrible Pavel Milyakov aka Buttechno appears next on Gost Zvuk: an imprint dedicated exclusively to the Russian and ex-USSR scene and only releasing music of producers from these regions. The label's seventh release (known elsewhere as 'Swamp Tracks') showcases the diverse array of Milyakov's sonic repertoire, that has seen his release on labels as diverse as Cititrax, Incienso and Zodiac 44. The fierce sonar transmission of "Project Loop 1" or "Subsonic II" will no doubt bear comparisons to Berlin legend Sleeparchive, but still hold their own. Milyakov is really in his element when delving deep into electro mutations as heard on "Industrial Acid" or the tripped-out minimal techno cut (and our favorite) "2x Clouds".
Gus Gus - "Your Moves Are Mine" (Sanasol remix) (9:24)
Thor - "Black" (7:32)
Biogen - "Stream" (Sanasol Lost In Time remix) (6:39)
Review: Next up on the ever-excellent Oscillat is "Spellbound" by the supremely talented Matthew Dekay. This moving deep house jam uses a few key elements to make a soul-stirring confection for truly spine-tingling moments in the middle of the dance. From the slithers of vocal to the insistent key riff that bounces throughout, this is an outstanding slice of contemporary house music loaded with feeling. Mandar then take the original and inject it with a feisty peak time energy shot through with a little trancey magic and an acidic undertone. It's not a raging beast but rather an energizing workout for the brain and the body - just what you need in the midst of a marathon.
Review: Alongside regular studio partner Andreas Baumecker, Sam Barker has released a swathe of admired singles and a couple of on-point albums on Ostgut Ton. Here he returns to the much-loved German imprint with his most significant solo release to date: a debut album of drowsy, sun-baked electronic positivity that expertly melds elements of hazy ambient, dub techno, off-kilter electronica and the classic kosmiche synthesizer soundscapes associated with Tangerine Dream. It's a lot less dancefloor-focused than much of his previous material, but that's not a criticism: indeed, the fact that it's warm, opaque and prioritizes fuzzy, slowly shifting musical movements is the album's greatest strength.
Review: Like Delsin label mates Conforce and Claro Intelecto, veteran producer John Beltran seems incapable of producing duff albums. "Hallo Androiden", his first full length outing for two years, is another wonderfully atmospheric, melodic and emotive set that recalls the producer's impeccable 1990s output. The nine tracks are as lushly produced as you'd expect, with Beltran effortlessly drifting between eyes-closed ambient techno, lilting electronica, slowly shifting sunset soundscapes and the kind of grandiose, life affirming ambient compositions that have long been a feature of the veteran producer's work. As with much of his output, there are enough intricate details and emotion-stirring motifs to suggest that the album will sound just as good on the 50th listen as it does the first.