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: 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: Having shot into the limelight in 2012 with a 12" on Hessle Audio followed up by an outing on Liberation Technologies, Bandshell has since been on covert operations largely centred around releasing his music himself via Bandcamp. Now he's extended that practice into the B.S.Hell label, providing a physical presence to his wayward experimentation on the fringes of bass music. It's a sound that naturally aligns with the likes of Batu and Laksa, but also defiantly makes its own statement as well. With five tracks of distinctive drum science and textural voodoo to indulge in, this is a welcome return to wax for a thrilling, self-motivated producer.
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: Cong Burn made a mighty splash with its first release, clearly flaunting the kind of wares you'd expect to hear from Livity Sound alumni or other such esteemed techno renegades. The second installment is no slouch either, featuring a new cast of crooked creators offering up their wares for the modern mutant dancefloor. BFTT has a weighty low end thrum powering "Public/Private", while Lack takes things in a scuffed and nimble direction. Chekov pushes out into more experimental pastures with the broken beats and displaced sound design of "Celeste" and Howes creates a wonderful strain of mystical deep house for darkened souls. Each one of these tracks is loaded with flair and personality, yards ahead of your average generic knock offs and presenting something with real merit to the convoluted world of dance music.
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: Ten Days Of Blue is John Beltran's second LP to date, from a distant-not-so-distant 1996, when a rush of neo-techno - on an intelligent tip - began to rush over the scene. The opening "Flex" is one of the greatest of its kind, a near 7 minute voyage of sparse drums, heavy bass and a level of euphoria that is close to match anywhere else. The truth is, however, that every tune on here is absolute fire, from the gentle IDM waves of "Collage Of Dream", the jazzed-out percussion of "Gutaris Breeze (6000km To Amsterdam)" and, of course, the knifty, pseudo d&b of "Ten Days Of Blue". There is so much more to explore, too, including the totally innovative techno of "Venim & Wonder". This gear really does sound like it was made the other day. Warmly recommended.
Review: Staggeringly, "What A Mess!" marks Pepe Bradock's first full-length excursion for over two decades. As you might expect, it's unusual in the extreme, with inspirations including a "special diplomatic elephant" and a sound shaped via "a few mundane terms, picked randomly, then coupled with frequencies chosen in a spontaneous way for their presupposed properties or synchonicities". Musically, the LP stretches one continuous suite of title-less tracks over two sides of vinyl, with Bradock cannily combing far-out ambient sounds, deep space electronics, off-kilter rhythms, layered spoken word snippets, mind-altering lo-fi bass and deliciously weird experimental electronics. It's akin to the sort of fuzzy, out-there sample collage you'd get on a Tolouse Low Trax mix tape, but that's no bad thing. In fact, it's a very good thing indeed.
Review: General Elektro/Atelier founder Daniel Pflumm and DJ Sotofett first crossed swords as Busen way back in 2009, issuing the brilliantly wonky U.S. Import 12" on Sex Tags Mania. Just two subsequent releases from the pair have surfaced, one on Wania in 2010 and the Busen 12" for General Elektro a year later. Those partial to their eccentric electronics will be all over this new self-titled double pack of odd experiments. While there's a whisper of acid, techno and stripped-back house, for the most part they stick to more out-there fare, delivering a range of tracks that variously doff a cap to industrial, drone, ambient and sparse, stripped-back IDM. All, of course, were created using machines - some modular, it seems - rather than computers.
Review: Ever since their first white labels started to appear a few years back, we've been big, bigs fans of Russia's Gost Zvuk label. That's because, aside from all the gnarly artwork, these guys are doing things on their own agenda: the sounds on these records are recognisable and yet different. Different in their approach, their style, and their message. On this Pavel 'BUTTECHNO' Milyakov debut, a record that sounds like it's been made by a veteran, we here shards of techno, but the genre is only used as a means of expression, one means to an end in terms of tying these alien sonics together under one groove. We won't describe this music in detail because it simply must be heard to be understood. Album of the week from us, don't miss it. Oh, and check the rest of the label out, it's all solid gear.