The 3rd release from Audition goes further into the sci-fi sound he is renowned for. “Irrational” invites you into a paranoid trance with its relentless synth line that seems to want to haunt you forever. Next up is “Tense” which, as the title suggests, creates a hard-hitting tension throughout the track supported by heavy syncopated rhythm. The EP ends with “Rumours” a beatless, brooding track that feels like you re entering a never-ending black hole.
Ten years ago, Acid Test began with a simple concept – each track the label released would make use of the Roland TB-303. Like a producer purposefully paring down their studio setup, or the continuous imperative within underground electronic music to reduce, this concept engendered creativity with the introduction of what seemed to be an aesthetic limit. However, the decade that followed, which now culminates in the triple-LP compilation Ten Years Of Acid Test, proves acid is limitless. That the Berlin-via-LA label would expand upon the classical conception of acid house and techno is no surprise considering the cast of characters that have come in fold over the past decade. Ten Years Of Acid Test gathers key material from the label’s extended family of acid acolytes. There’s that Vienna-via-LA maestro of sad, elegant acid Tin Man (Johannes Auvinen), whose “Afters Acid” is both a highlight within his prolific catalogue and a distillation of his symphonic approach to the 303. Detroit giants Erika and Marcellus Pittman, both of whom have released remixes on Acid Test, present their respective and singular Bass Line visions. Erika, the Interdimensional Transmissions lynchpin, crafts a dark, delicate take on broken techno on “Violet Fungus” while Pittman continues his cubist house explorations on “Unknown Species,” both tracks straying from typical acid lines in favor of the intricate textures achievable on the 303. This variation in approach applies to tempo as well. Irish-based master Lerosa, as well as Delsin affiliate VC-118A, delve into downtempo atmospherics. Meanwhile, Japanese deep techno virtuoso Wata Igarashi, SUED co-founder SW. (a regular on Acid Test’s leftfield sub-label Avenue 66) and Patricia (one-half of Acid Test act Ociya) use acid as a creative jumping-off point for complex melodic concepts. Wata layers an orchestra of synth-bliss drone overtop a squelchy bassline on “Ephemeral.” SW.’s “ChaIAnJAzzz” cycles through an array of dusted chords eventually landing in skewed, fuzzy rave nostalgia, anthemic chords held aloft by a wicked UK-flavour bass line. Patricia’s “Higher Still” explores dreamy, IDM-flavoured acid, cinematic synthlines counterbalanced by propulsive, squelching acid. Acid Test devotees will be thrilled at the return of various luminaries from the catalogue, including Achterbahn D’Amour, Skudge, AAAA, John Tejada and Donato Dozzy, whose memorable remix of Tin Man’s “Nonneo” from Acid Test 01 served as a kind of proof of concept for the label. There’s new blood too. San Francisco up-and-comer Sepehr makes his label debut with the excellent “Persian Acid Prince,” as does Andreas Tilliander’s beloved hardware techno project, TM404. Ten Years Of Acid Test is a valuable portrait of a group of artists linked by a dedication to innovation within acid, in line with the genre’s storied roots. Over ten years, Acid Test has gracefully made a case for the 303’s past, present and future, the story of acid continuing to unfurl in unpredictable, addictive patterns.
Bicep continue to bolster their Feel My Bicep imprint with another reimagined classic. With this – the seventh addition to the catalogue, the Irish duo pay homage to another equally seminal recording as they rework ‘In Yer Face’ by 808 State.
Moods & Grooves welcomes the return of one of Detroit’s best multi-talented producers, Andrés. “Back In The Open” chops up a classic hit along with a few unknowns that will keep the floors moving throughout the night.
Antoni Maiovvi’s debut EP on Italo Moderni with four original tracks influenced by the Bakalao from Valencia in the 90’s. The so-called ”Ruta Destroy” was a direct hit to the “Movida Valenciana” and consisted of the largest clubbing movement in Spain. It started in certain aspects the clubbing movement in the country, and had long-term consequences on the form of nightlife in Spain. Including a remix by Jensen Interceptor and Cardopusher.
Heavy South African cut, unearthed by Dene from La Casa Tropical. The origins of Amajika is a tale of two worlds colliding at the perfect moment and begin in KwaMushu Township outside Durban. Here would be where a young Tu Nokwe would set up a school to help teach other aspiring youngsters like herself in music, dance and acting. This would become known as the Amajika Youth and Children’s Art Project and would be run from the Nokwe home, a common hangout for artists at the time. Some boast 2000+ pupils going through this program while others claim it wasn’t more than a backyard dance group, but for the lucky group of kids that were members in the mid 80s it would be their chance at stardom. Fast forward 30 years from the original release to a smokey club where ESA hears Got My Magic Working played by Rush Hours Store’s own Bonnefooi. Instantly he inquires about the track from his homeland and feels it a perfect addition the repertoire of the Afro Synth band he is quietly cooking up. Here you have compiled the two title tracks from original Amajika singles along with the instrumental version by ESA’s Afro Synth Band.
“Dead Beats 1” brings together new and returning artists to Death Decay Magic, featuring tracks by Daniel Holt, Happy707, Heidi Sabertooth, Hissarlik, Man 2.0, Stockholm Syndrome AU and label boss Black Light Smoke.
Murder Tbilisi, the Georgian record label, continues exploring electronic soundscapes and returns with third V/A compilation, featuring exclusive tracks from Soft Crash, Silent Servant, Volvox, Restive Plaggona, OTHR and Puritan.
Sound Synthesis is the solo project of Keith Farrugia based in Malta. The record imagines an ‘Electro Planet’, with a the title track engulfing the listener into an alien world run by Kraftwerk autonotons, commanding synthesisers and vocoders live in harmony within it’s rich sonic landscape. ‘Robot Collision’ takes the record off into alien worlds with ominous overtones of spiralling synth lines, pulsating bass before descending into an abyss of modulation. On the flip, ‘Electronic Machines’ hits firmly at the peak time dancefloor and we can’t wait to hear it back on the big systems where it belongs loaded with dense palpitating bass lines, protruding from the midst of slick 808s and soaring string embellishments, and a dash of vocoder fragmentation. The EP is nicely completed with ‘Energy Patterns’, the understated bomb of the record and a juggernaut of pure menace, hitting with a bass line that will decimate clubs like fabric, Fold and Panorama Bar on their return – think churning acid lines, shrieking synth FXs, and a huge electro groove – not for the faint hearted but that suits us just fine.
Cinema’ is a brilliant snapshot of both artists working together in unison, with Fabrice Lig providing his trademark ‘high tech funk & soul’ sound alongside Wolfgang Flür’s keen, tried and tested ability to fuse clever pop inspirations and catchy vocals through the use of robotic mechanics. Perfect music which balances the headphones and dancefloors on the horizon. Five versions are on hand with the EP, including the original version of ‘Cinema,’ a French version of the original, as well as a remixes from Detroit’s Ectomorph, UK Electro kingpin Carl Finlow, and Dutch synthesis maestro Versalife aka Conforce.
Djedjotronic blasts us off on an interstellar journey with The Great Red Spot EP, the ninth release on International Chrome. Named after the ancient and gigantic storm on Jupiter (bigger than the Earth), the EP is similarly massive with a swirling, constantly moving energy. Includes a Jensen Interceptor remix.
A little more than 2 years ago, labelhead honchos Paul & Dave released their “Nobody is Anywhere EP” on their own imprint Dynamic Reflection. It was a statement about the status quo in the techno scene back then, where many artists didn’t know which way to go. Ironically enough, the contrary is very true as we speak. The “Anybody is Nowhere EP” responds to their previous work and reflects the uncomfortable time we are currently living in, driven by uncertainty. Even though these are not the happiest thoughts, the track titles show that there is hope left. “Emergence” is a very seductive but psychedelic trip towards “Discharge”, which feels like Abstract Division discharges themselves completely. The last track, “Polarise” points out the current divided society, which sets some doubtful thoughts about the future. Scandinavian rebel and Northern Electronics patron Anthony Linell provides his interpretation of the track “Emergence” and delivers a distinctive remix as only he can.
Holden Federico’s first SK_X release has been one worth waiting for. The New Yorker blends a mix of hard brutal percussive drive and powerful kick drums with his beautifully written melodies which stem from his background in classical music. Throughout the EP Holden’s musical background is ever dominant–vibrant synth lines provide a sense of body and feeling in the music, while straight techno rhythms keep the dance floor happy and the feet moving.
DJ Savage is a techno producer from Thessaloniki, Greece and this is the second set of recordings which have been released, 20 years after being produced.
Marco Shuttle’s third album, Cobalt Desert Oasis, features a varied collection of music recorded across a two year period. Often traveling to remote destinations, Marco would come back to Berlin with field recordings, images, and other inspirations to process in his studio and turn into sound. The theme of the journey turns into a something more abstract than a travel diary, where environmental sounds blend in with modular synthesis, drum machines, effects and analog oscillators resulting in a cinematic listening experience where psychedelia, ritualism, and mysticism weave together in a sort of alien soundscape – that as the title of the album suggests, is reminiscent of a parallel utopian world. The album is rich in complex rhythmics, and more than in any of his previous work, has strong acoustic elements. Amongst other percussion instruments, Marco used the Tombak, a traditional Persian hand drum capable of reaching a very wide range of frequencies – from deep round subby toms, to high pitched sharp rimshots, throughout the record. Marco Shuttle is certainly not new to these sort of elements, but in Cobalt Desert Oasis he brings the environmental element of his sound into the forefront in a way that takes the listener into a hazy expanse where it is sometimes difficult to distinguish the machine elements from the natural – and where the music almost becomes a visual experience, which relates to Marco’s own photography used throughout the cover and insert images.
Sure Thing welcomes two new additions to the label with a long-distance collaboration between Seattle’s Archivist and Berlin’s Claudio PRC. Two original productions from Archivist recall dense, billowing fog and the gentle shimmer of waves, each re-imagined through Claudio PRC’s exacting lens into novel forms that spiral with steady, monolithic intent. Brought together, an expansive double vision, an exploration of the compelling nature of movement and air each within the other.
The Hipodrome Of Music 