OCH – First Contact [DREIKLANG001]

Newly established Berlin-based vinyl-only label Dreiklang dive straight into the physical world with First Contact. The label’s distinctive triangular concept is reflected in its name with Dreiklang pursuing a three-fold approach to electronic music. Each release presents three contrasting takes on the same source material, juxtaposing and unifying three particular electronic music sub-currents. For their first outing, Dreiklang call upon an international team of producers with OCH, Hydergine and Kelovolt dropping in for their respective shots of tech-house, dub techno, and dark drone techno.

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OCH – First Contact [DREIKLANG001]

Simon Weiss – Tele-Vision [VD023]

Tom Trago’s Voyage Direct label returns to action with a brand new 12” from Amsterdam scene stalwart Simon Weiss. The gloriously positive ‘Tele-Vision’, and it’s cyber-house fusion of darting synthesizer arpeggios, Detroit-influenced percussion, and thrusting acid bass – that heads up Weiss’ first EP for Voyage Direct. Dutch veteran and longtime friend of the family Dexter turns in a stunning remix, putting a well-placed boot up the backside of Tele-Vision.

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Simon Weiss – Tele-Vision [VD023]

XI – Mania 028 [MANIA028]

MANIA 28 presents the second batch of sessions by XI dating from 2009. A-side’s soft mellow clunks & clanks of acid stretches warm and long with toms gently fighting the kick for space. Flip it for B1’s call-and-respons Acid lines embedded on 808 rhythms, pads and incomming Balearic hitting-horns (as if The Royal Army Corps back dropped a sunrise on a Mallorca after party). B2 goes deeper, more alluring and utterly filtered. Classic elements, impeccable atmosphere.

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XI – Mania 028 [MANIA028]

Khotin – Baikal Acid [1080V006]

Having first made an impression via a couple of chugging disco reworks on Common Edit, Khotin has spent the last couple of years delving deeper into the world of analogue-rich deep house, ambient and electronica. Here he continues this trend, returning to 1080p for the first time in two years. Naturally, it’s a woozy, dreamy and occasionally intergalactic affair, with the Canadian producer doffing a cap to early ’90s IDM (“Recycle (Drift Mix)”), acid-flecked dreaminess (“Human Voice”), and undulating, Mood Hut-ish deepness (“Recycle (5AM Reflection Mix)”). Best of all, though, is “Baikal Acid”, which somehow manages to draw all these strands together on one picturesque, clattering gem.

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Khotin – Baikal Acid [1080V006]

Zadig – The Stellar Hunter EP [TRESOR283]

Tresor unveils the debut EP from the hand of Zadig. With ”The Stellar Hunter” he delivers three tracks rich in tradition, matching impeccably to his style, arrangemental magic and masterful set of technique. Between elongated synth pads, high-frequency blips and reversed kick drum sequences coupler with deep hypnotic bass lines, Zadig proves to be the talented recipient of an illustrious heritage in techno, carrying it forward with modern application.

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Zadig – The Stellar Hunter EP [TRESOR283]

Palais Des Bauzards – In The Grassfield [OS028]

Palais Des Bauzards pursued an industrial and electronic variant of the sound that swept into vogue during the first half of the ’80s. This compilation digs into the original material provided by the band and offers an amazing selection from start to finish. The sometimes rudimentary though gripping tracks tracks on the first side are emblematic for their early period, for example “Money” a song driven by a screeching rhythm box, distant guitar lines and a nonchalant voice. Cabaret Voltaire comes to mind. They’re not afraid to experiment and to explore new horizons (the track “Lies”). The second side shows a more developed dark wave sound with In The Grassfield and Knowing Too Much both produced by legendary Belgian producer Ludo Camberlin. On top of this there are two dark goth rock stomper hidden in the selection, they hide by the names My Life Is A Sin & Eat Out Of My Hands. Overall it’s a broad selection of tracks which show the capability of the band to do something different with the new wave genre. Initially the group was formed in 1983 in the Belgian city of Leuven by Danny Jacobs, Dirk Van Regenmortel, Chris Serré (+2006), Frank De Wit and Rudy Stuyckens. In 1983 they released two tracks on the Mask Live LP together with Front 242. In the three following years many of their home recorded tracks were published on a bunch of cassette labels.

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Palais Des Bauzards – In The Grassfield [OS028]

Crash Course In Science – Jump Over Barrels [DE102]

Crash Course In Science are a post punk band that formed in 1979 in Philadelphia. “Jump Over Barrels” was recorded at the Third Story Studio in Philadelphia in 1981, one year after “Signals From Pier Thirteen”. The song remained unmixed and unreleased at that time for a proposed album titled “Near Marineland”. Lyrically the song tackles overcoming obstacles, self imposed or otherwise, with vocal interplay between Michael and Mallory. On the A Side is the original mix and a demo mix from 1981. Then on the flip is a brand new remix by prolific Ann Arbor producer Charles Manier, a pseudonym of Tadd Mullinix, who toughens up the track. Also included is an unreleased demo version of the song from 1980, accentuating the raw and skeletal nature of the track.

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Crash Course In Science – Jump Over Barrels [DE102]

Metropolis – Unify [CHAR006]

Dark machine music by Metropolis on the Pinkman offshoot label Charlois. The EP starts with the German vocalized protest song “Uberall Polizei, Nirgendwo gerechtigkeit”, an EBM inspired track which reminds us of the early 80s Belgium artists like The Neon Judgement and Nitzer Ebb. On the flip the riot continues with “Kriegdienstverweigerer”, a hypnotic neo-electronic jam with rattling synths, psychedelic baselines and a repetitive robotic vocoder on top. The EP ends with the title track “Unify”, a deep cold cinematic floor burner. Limited to 300 copies, with silkscreened sleeves.

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Metropolis – Unify [CHAR006]

Detroit Diesel – Dimension [DUM033]

DUM Records has been a fine purveyor of minimal techno ever since 1992. The label run by Kim Rapatti—himself a long serving Scandinavian techno pioneer who has released on labels like Skudge and Forbidden Planet deals in analogue gear, sleek and stark sound and, after a long sleep, is now back with a great new EP. It comes from the label boss under his Detroit Diesel alias and perfectly encapsulates the label, and artist’s, perfectly reduced sound.  The first cut is a new re-written interpretation of the ’93 acid classic ‘Dimension’, previously released on DUM011. An intense, nerve jangling and engagingly dark acid workout. Many supple synths gurgle next to huge and ice cold hi hats and the whole thing keeps you on edge throughout. The original ‘Dimension’ on the flip is less aggressive but is just as intense, with a thick acid line the main feature above cantering drums and explosive claps. There is no letting up in any of the tracks here and closer ‘Freestyle’ is no different. It was recorded in ’94 in Finland and has never been released on vinyl before. It is a lithe, elastic track that twists and turns with big stabs, pummelling drums and machine gun fire synth that will fill any warehouse with irresistible sound and energy. DUM Records is back, and back in style.

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Detroit Diesel – Dimension [DUM033]

Timothy J. Fairplay – My Etherealrealness [CHAR007]

Pinkman follows on his blooming imprint Charlois with another addition from label favourite Timothy J Fairplay. ‘My Etherealrealness’ kicks things off with tape saturated drums propelling interweaving sequences and nostalgic lead lines before ‘Phantom Trap’ sets springing kicks bounding under tense and sweeping melodies. Pressure builds behind a wall of coiling synth lines before ‘Flying Saucer Review’ lays a reverberated thud under playful percussive flashes and more adroit synthesis. Fluttering textures and gentle tape purrs persist throughout as the tracks dismantlement gives way eerily flickering tones that cap off another prime addition to the Charlois catalogue and another solid 12″ from artist going from strength to strength. Limited to 300 copies, with silkscreened sleeves.

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Timothy J. Fairplay – My Etherealrealness [CHAR007]

DJ Sonikku – Secret Island [HAWAII002]

Lobster Theremin’s Distant Hawaii offshoot seems to have been designed to offer a colourful, vibrant alternative to its’ parent label’s dystopian techno. Certainly, the bubbly and deliciously positive fare served up here by debutant Tony “DJ Sonikku” Donson perfectly fits the bill. Apparently it was partly created using a Sega Megadrive, and there’s definitely a 16-bit feel to the whistle-happy percussion, drawn-out chords and cheery melodies of “Secret Island”. The other two tracks are equally Balearic in outlook, variously utilizing sampled slap-bass notes, synthesized steel drum melodies, classic New Jersey organs, and eyes-closed solos in a bid to squeeze maximum sun-drenched positivity from each moment.

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DJ Sonikku – Secret Island [HAWAII002]