Boston 168 are back on Attic Music with a 4-track spanning release named ”Khidi Rever”. Again, the Italian duo delivers a well balanced release that cleverly touches different sides of modern day Techno music. From the slow paced chug ”Khidi Rever” to the emotive tones of ”Blu Bridge”, the A-side already showcases the duo’s versatile pallette. On the B-side we find an acidic growler named ”J The Master” which is heavy arms material for the festival season. Label owner ”Fabrizio Lapiana” offers a haunting remix of ”Khidi Rever” to close down the record.
With the new Force EP Terence Fixmer follows up on 2016’s Beneath The Skin EP (O-TON 97), offering four stylistically different but congenial Techno scenarios for club use.
Avant garde techno by Bleak on Cabrera Records.
In the second part of the Unlocking Sounds collaboration between the Netherlands Institute for Sound and Vision’s RE:VIVE initiative, the Research Center for Material Culture and Amsterdam’s Tropenmuseum, Dutch producer Parrish Smith digs through the Tropenmuseum’s ethnographic music archive and reads between the lines of ethnomusicology to confront the Netherlands’ colonial past. Assisted by the writings of Surinamese slave resistance writer Anton de Kom, Smith delivers a gripping social commentary entitled GENESIS BLACK.
The French producer Amandra comes on Semantica with the Shota Mariachi, including four pulsating, minimalist Techno tracks.
Thule are on an unstoppable roll at the moment, both mining the archive and doing a great service to the next generation of techno producers in Iceland. The deep, dubby headspace most readily associated with the label continues in abundance with the emergence of Waage, who under the tutelage of Thule old guard Exos has taken to production like a natural. There’s a supremely reduced air about “W1”, but the rubbery bassline simply can’t be argued with. The dub techno tropes are out in full force on “W2” though, with some sumptuous chords that come on like cracking ice. “W3” then pushes even further out into that heady space where minor key chords can never have enough reverb before the sinister, simmering creep of “W4”.