Review: Butter Sessions latest must-check release comes courtesy of Melbourne-based rising star Furious Frank, whose recent EP on Paper-Cuts was particularly impressive. "Ahora Si" is similarly inspired, with the young Australian producer placing Ivy Barkakati's "Sueno Latino" style whispered vocal over a bold, alluring blend of jangling dream house pianos, rugged acid lines, sunrise-ready chords and loose-limbed analogue beats. He provides his own dream house style interpretation (the brilliant "Frank's Sunrise Mix") before inviting Ivan to give his take on the track. He adds some tribal percussion whilst retaining the cut's inherent dreaminess before Canadian producer D. Tiffany re-imagines "Ahora Si" as a bass-heavy chunk of UKG/breakbeat house fusion.
Review: EYA Records presents a double 12" of plush techno and house spanning styles, giving four producers the chance to showcase the breadth of their sound with two tracks each. Innershades brings emotive 90s swoon and peppy acid to the A side, before Two Phase U slips in a little uptempo robo-disco sauce and a feisty jack track. Otis takes things in the direction of wiggy proto-trance and bleep techno, and then Zots finishes up with freaky synth work dripping with mischievous personality. This is a set of tracks that demands to be noticed - don't sleep.
Review: As Instra:mental's much anticipated new album fast approaches, the instrumental (sorry) electronic duo sate our thirst with a second EP of tracks from it. This time out they kick off with the foreboding minimal rhythms of "Auto Love", which gently rises up and down on a rubbery drum loop. "Elsewhere" is a more tender mood, with 80s chords speaking of a rare vulnerability before order is restored with the prowling kicks and acid modulations of "Encke Gap". Last of all, "More Than" is another sparse but hugely absorbing affair with a gentle sense of hope among distant chords.
Review: L.I.E.S latest muscular missive comes courtesy of Dutch scene stalwarts Parrish Smith (previously of Knekelhuis and Dekmantel) and Interstellar Funk (AKA Artificial Dance big cheese Olf van Elden). Rich in machine drums, cranky modular synth sounds and industrial intent, the four-track missive sees them angrily stomp between mind-altering, mid-tempo throb-jobs (the strobe-lit electronics and druggy arpeggio lines of "Misinformation"), buzzing 4/4 electro ("High Gates"), raw, redlined, noise-addled techno ("Macrodosing") and the kind of dark, moody and throbbing dancefloor fare that sits somewhere between angular industrial music and frustrated, lo-fi techno ("Collapsed Buildings"). For want of a better term, this is music for dystopian dancehalls, prorogued parliaments and the children of broken societies.
Review: After slowly building his career over the last few years via well-received singles on Rave Or Die, Khemina Records and, most recently, Perc Trax, Guillaume Labadie delivers his hotly anticipated debut album. It's something of a beast, too, with 12 lengthy tracks spread across two CDs. After scene-setting via a constantly-building blast of symphonic synth strings, new wave style guitars and crashing drum rolls ("The Beginning of the End"), Labadie sprints through bombastic, mind-altering stompers ("Crossing The Mirror"), dark and twisted soundscapes ("Impossible Love"), distorted techno thumpers ("The Night Is Our Kingdom", "You Are Not Alone"), redlined downtempo soundscapes (the filthy "Partner In Crime"), industrial strength insanity ("Romantic Pyscho") and pitch-black throb-jobs ("Eternity Is Burning").