Review: Collaborations are often the fortune of timing. With Andy having moved on since closing the Dissident label to launching his Cave Paintings project to Tim's departure from Battant and striking out as Andrew Weatherall's engineer and soon to be co-member of The Asphodells, an alliance was born between the two to undertake a series of live jam sessions at each's respective studios. A love of new wave, new beat, UK Bleep and Detroit techno all feature in B-Ultras and the aptly titled, Neu Beat. Both cuts are heavily soaked in the pitch black, smoke machine funk and strob-laden fug of Andy's (and co-hort Joe Hart) infamous World Unknown dancefloor. Running at around 10 minutes the tracks are essentially an examination of acid house's ideals. Clattering hats, throbbing basslines, stabbing keys and doses of 303. Keeping it pretty simple but all about a pure groove on and on. Backing these up is a remix of B-Ultras from Jamie Paton that accentuates the groove and drags the acid deeper down to some B-boy Dub throwdown - with more to follow from all protagonists in 2014.
Junior Fairplay - "End Of Love" (Roy Of The Ravers remix 2) (4:46)
Freeform Five - "Throwing Stones" (Jamie Paton remix) (7:23)
Red Axes - "Waiting For A Surprise" (Kris Baha remix) (7:21)
Bal5000 - "Kids" (7:26)
Review: (Emotional) Especial heralds its 30th release with a killer package from an all-star cast that takes in label regulars and newcomers alike. The vibe starts heated and heavy with modern acid champ Roy Of The Ravers taking a blunt instrument or two to Junior Fairplay's "End Of Love," firing off the kind of bludgeoning b-line and fizzing drums that makes his direct approach to the dancefloor so potent. It's somewhat surprising to see Freeform Five pop up on this 12", but Jamie Paton's remix of "Throwing Stones" sounds utterly natural in the habitat - a brooding, simmering trip shot through with noirish synths. Kris Baha gets busy with Red Axes' "Waiting For A Surprise," twisting out an exotic bubbler perfect for the low tempo chugging crowd, and then Bal5000 wraps things up with the gorgeous electro-disco delights of "Kids".
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: Leonard "Big Strick" Strickland is perhaps best known for his family ties with Omar-S (they're cousins), though his productions are well worthy of praise in their own right. Here, he offers up a sampler 12" featuring cuts from his recent (and excellent) Reservoir Dogs LP. Perhaps the most noteworthy cut is "Family Affair", a lovingly constructed chunk of hypnotic, melodic deepness written with Omar-S. That said, Strick's solo effort "Armed & Dangerous" - a winding chunk of voodoo techno - is arguably better. The mazy techno-funk of Reckless Ron Cook's "Night Moves" is also outstanding.
Review: FXHE bloodline member Big Strick continues to excel on his own 7 Days Ent. label, dropping his first 12" of 2012 which has a nice community feel to proceedings. Alpha & Omega introduces us to Generation Next, a rising 16 year old talent from the streets of Detroit who contributes alongside Mr Strickland to all three tracks here. Stylistically, the three tracks here seem equally indebted to Juan Atkins pure techno endeavours as Infiniti and the sub aqueous grooves of Drexciya, not least the restrained title track which shimmers from the murky depths into a finely crafted liquid groove imbued with bubbling elatory Utopian textures. On the flip "Origin" ripples with pressure, its rhythmic elements grappling for your attention as the space between them decreases with Strick and Gen Next expertly layering texture upon texture. A masterful 12" shaped exercise in modern day Detroit sounds is completed with the devious electrofied snap of "Bloodline".
Review: It's been a while since Blackest Ever Black turned the key in their A14 machine but it's clearly in working order as Beneath takes us for late night drive through the murkiest of bass/techno/breakbeat hinterlands. "Cloudy" is a sludgy, warped jam that would sound just as good in an Om Unit set as it would a Radioactiveman selection. For a little more grunt flip for the stripped back and rolling "Outsource" where the industrial strength drums suddenly get wrapped up in a short series of pure chord uplift. Hardboiled just as A14 likes to cook them; let's hope both parties don't leave it so long next time...
Review: Fresh from his exploits with King Kashmere, beat alchemist Bambooman crashes the party at Accidental with four more singular experiments; "Shudder" rolls on a stuttering break that's paced in such a way it's as much UKG as it is techno. Both "Grasp" and "M1" show off more of a house side to B's spectrum as the former insists with an almost Detroitian charm while "M1" scrapes strange strings to create unique texture. Finally "Kyrian" takes us on a futurist twist on broken beat with spacious kicks and a warm, fat analogue synth. Some say shudder, we say goosebumps...
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.
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.
Miro SundayMusiq - "From Behind The Corner" (8:39)
Review: Following an excellent EP from Memphis, Animals On Psychedelics returns with more weird and wonderful party fare from the outer reaches. This time it's a various artists release that brings together all the producers involved in the label so far, while also introducing BPMF to the fold with the woozy, rubbery synth shapes of "Liza On Clouds." Jane Fitz and Dom Ahtuam's Invisible Menders project presents the rolling, psyched out melodics of "Three On Three," while Memphis pushes further into experimental territory with the wonderfully fractured "Altered States." That leaves it to Miro SundayMusiq to complete the EP with the wave-meets-Italo tones of "From Behind The Corner," a perfectly noirish flourish to finish a sterling record.
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: Bwana aka Nathan Micay has already seen a release on Will Saul's Aus Music and his fluid, freeform house music returns with "Tengo", a melodic progressive house nugget that's both spacey and fit for any dancefloor. The same goes for "Drop Mechanism", an ethereal house stepper, while "Due West" goes in a lot harder with a vicious bundle of Power House drums punching and kicking their way across its chords. Effective floor bombs.
Review: After a quiet 2016 thus far Och's Autoreply label is finally back in action with a frankly fantastic selection of workouts from Mark Broom. In keeping with the style Broom has been exercising in new Perbec jams with Baby Ford, this is more restrained than the muscular techno Broom can also be known for. Instead, you get expressive, satisfying house tracks such as "18.2" and the neatly pumping "10" with its killer array of synths to satisfy the dancefloor and the mind in equal measure. Avoiding unnecessary fireworks in favour of perfectly chosen and shaped elements, this is a glittering demonstration of Broom's cool-headed approach in the studio.
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: When it comes to dub techno, you need look no further than the master of the genre, Basic Channel. It's been a good long while since there was any fresh material on wax from the immortal German outfit, but now they have looked back over their archives and realised that "Q-Loop", originally found on the BCD CD release, never made its way on to vinyl, and so here it is for all the Basic Channel completists out there. There's no need to go into detail about the music, but an extended fourteen minutes of "Q-Loop" stretched across the A side can only be a beautiful thing. On the flip you can also enjoy the aqueous strains of "Q1.2" and "Mutism"s vaporous ambience, both of which are enjoying their first outings on the black stuff.