Review: FOXBAM INC is back to build on the momentum of their first EP with a second one that packs a mighty punch. This one kicks off with EBY, who this year has been cooking up acid for 40 years and here offers the warped low ends and garage-techno power of 'Goldtooth'. Foxtrot vs Ma Bla then mashes up old school samples with earth-shattering bass on 'Deep Down Inside' and bRz vs Stije is a double-time hard techno stomper with warped synths and twisted bass that is inspired by and named after ISCO, a concept from Einstein's general theory of relativity that makes predictions about the dynamics of black holes.
Review: Filth Rich gets suitably filthy on this fresh outing on Zimp. His Rave EP collides many different influences from techno to electro, acid to rave, and also chucks in some classic samples to really make the tunes pop. The first is a peak-time breakbeat bruiser with slapping hits and yelping vocals, then 'Hippies Gathering' is a prog techno classic from the late 90s Castle Morten rave scene. Randolph offers his own Filthy Rave remix that gets even more wild and included along the way are some sample-tactic snippets to liven up your set no end.
Review: The first anyone heard from Robert Fleck was an early drop on Well Street back in 2018, and it's been quiet since then. Anyone following Well Street knows it's a hot tip for upfront artists in the fractured fissures of the UK underground, and Fleck makes a welcome return to prove the point. There's a lot of different touchstones you could point to on this release, from nimble-footed broken beat and a whiff of nu jazz orchestration, not to mention a bass music sensibility and an appreciation for deeper strains of UK techno. But more than all that, Fleck merges his unique spread of influences into something fresh and unique, comfortably slipping between conventional genre markings with the kind of flair we've come to expect from Well Street.
Review: The Psychic label comes on strong with its inaugural EP here from Philadelphia-based rave rebel Furtive. His Muscles Hug Your Bones EP is indeed a rugged and tough affair that opens with the searching psychedelic synths of 'Convoke', an intensely atmospheric piece that sounds like being trapped in a factory in meltdown. The title track is a strobe lit techno anthem that takes no prisoners and 'I Always Try To Be This Gentle' then slows it down, layering up grimy sounds, smeared metal pads and rickety drums. 'Intrepid Smiles (Golden)' shits down with a more hopeful vibe that takes you into a brighter future.
Review: There's a reason that Future Sound of London's 1991 debut single, 'Papua New Guinea', is periodically reissued: it's a stone-cold classic that sounds unlike anything else. In its original mix form, the track combines traits borrowed from early breakbeat hardcore (booming bass, house-tempo breakbeats) with saucer-eyed vocal samples, twinkling pianos and sounds more often found in ambient house and chill-out tunes from the period. This remastered, hand-numbered vinyl reissue boasts all of the 1992 remixes (as well as the original mix), including a suitably psychedelic, tribal-tinged Andrew Weatherall revision, the duo's own spaced-out ambient style 'Dub' mix, and a sax-sporting Manchester re-wire courtesy of 808 State's Graham Massey.
Review: Los Angeles-based The Black Lodge began as an intimate gathering place and ritual organised around exploring, sharing and experimenting with diverse forms of electronic music. This is the fourth collection of cuts from various artists of The Black Lodge multiverse. The Poetic Painter M, an alias of Nation chief Traxx, opens up the A-side with the dark late night acid of 'Elusive Clarity Of 1 Mind', followed by Pablo R Ruiz from Detroit providing the spooky lo-fi/sci-fi groove 'El Rey De Amor'. Over on the flip, Michigan's Fashion Flesh serves up a harsh experimental soundscape on 'Kisses' and closes with the tunnelling industrial funk of Fauna53's 'Jam1' (Asymmetrical weirdo orchestra edit).
Review: Berlin Atonal returned two years ago from a long hiatus, 23 years to be exact. After three tremendous festivals this decade, they now present us with their first recordings since 1984. These particular ones from the 2014 edition. Cabaret Voltaire (in this incarnation featuring only Richard H Kirk) was a true highlight and contributes "Microscopic Flesh Fragment" and "Universal Energy". One half of Demdike Stare Miles Whitaker went solo, presenting his truly unique take on techno, and the slow burning attitude of "Vagabond No. 7" is evidence of this. New Zealand's Fis also appears; rather uncategorisable as always on "Dist CL (Atonal Version)." On the third disc we have Northern Electronics main man and modern auteur Abdulla Rashim presenting two commissions from his captivating atmospheric set that year. Limited to 700 copies.
Review: French musician Julienne Dessagne is behind Fantastic Twins and here presents a new album inspired by the Greek myth of Theseus and the Minotaur. Adapted from her composition for the dance piece Meandres, the record is a textural world of leftfield techno, kosmische influences and cinematic soundscapes across five tracks. Along the way, we're told the artist explores mythology and symbolism while drawing from opera, film scores and literary works. Her set up included modular synthesis and layered vocals which lend things a rather psychedelic edge next to the strikingly atmospheric synths and subtle sense of unpredictability.
Review: Before his work became reduced to a fine slither and he shifted into experimental, concept-driven realms, Jan Jelinek dropped some of the finest early doors micro house as Farben. Originally released on Klang Elektronik and now reissued by Jelinek's own Faitiche label, Textstar is a masterpiece of glitchy sample-based electronics with a subtle, implied funk. In some ways the sound has dated - it's very much of the late 90s-early 00s era it was first crafted in. But it's a sound that still engrosses and intrigues, reveling in microscopic detail and subdued moods while retaining a groove that comes through the best on eternally magnificent cut 'Beautone'.
Review: Berlin's Felix K has always made an art form of techno. His take on the genre is about space, weight and sound design as much as anything. He shows that on the Nullpunkt label with a double pack of expertly realised cuts. 'Sudbaism' is a dubby and cavernous opener with plenty of atmosphere to it then 'Noism' darts about the stereo field with jerking rhythms and snatched vocal yells underpinned by vast bass. Elsewhere there is plenty of moody menace to the empty underground caverns of 'Loss' while 'Life' is like being trapped in the middle of a factory production line in full flow. An evocative work, for sure.
Review: Ryan James Ford returns to Clone with an album that was written in his new home of Berlin, but that is inspired by his life growing up in Canada. It is full of the sot of rave sounds he heard back then and distil some of the atmospheres of the places he visited and experiences he had, from swimming in cold rivers to exploring supposedly haunting areas and of course being lost int he rave. It is a visceral 14 track affair that combines electors techno, IDM and ambient in complex and rewarding fashion.
Review: The Future Sound of London keep their fans busy with a steady dispatch of music via the fsoldigital.com label, but it feels like there's a sense of occasion around this new album. Rituals E7.001 is purportedly the first part in a trilogy, and it already highly prized by the devoted followers of Brian Dougans and Garry Cobain's music. It's not hard to hear why on listening to the gorgeous strains of 'Hopiate', which harks back to some of the duo's most iconic music (we'll let you guess which one we mean). FSOL have always had a particular touch in their exploration of electronica, ambient and outernational sounds, and it sounds rich with inspiration on this new, expansive album.
Review: Layer is the new label from Berlin techno favourite Berghain for the music released by its residents. Ben Klock is one of the most celebrated of those and here he links up with Fadi Mohem for an album that eschews his famous techno sounds in favour of a new blend of IDM, ambient and experimental sounds. 'Layer One' comes on double vinyl and opens with 'Ultimate (feat Coby Set)' which is an atmospheric opener with icy synths and sparse landscapes, then 'Escape Valley' explores kinetic rhythms and glitchy synths, 'The Vanishing' is another exploration of a distant corner of the cosmos and 'The Machine' brings more cinematic and evocative electronic designs.
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