Jack Off presents the second release from John Osborn entitled ‘Lords Of The Last Days’. The title and the track are influenced by Arthur C. Clarke’s Sci-fi novel ‘The Songs Of Distant Earth’. On the flip side Swiss house master Quarion makes sure that the head and the feet come together with a wonky dance floor remix, keeping true to the analogue sprit of the original and adding his house drive.
Black Tekno emerges from the undercurrent of Chicago with it’s first release, an acid infused, floor jacking four track EP from Noleian Reusse entitled “Second Language”. The songs here are aimed at the dancer, ranging from emotional sci fi to straight up party jams. All tracks were recorded live – hands on the keys, knobs and faders of Noleian’s analog hardware setup.
One third of the Phantom Planet Outlaws, Mark Forshaw returns with a rich and diverse solo EP on Tabernacle Records.
Insubordinate and averse to anything going on in the EDM world the dutch derelict of techno is back with a luminous new album on Clone Records. Steamy and mysterious as ever The Paranormal Soul is advancing the trademark Legowelt sound into new directions. Mangling up the historical foundations of New York, Detroit, Chicago and early U.K Rave, mixing it with seedy witchcraft rituals and deep space psychedelics for a boundless journey into techno mysticism.
The one and only Disco Nihilist is ‘Moving Forward”. Mike Taylor’s second EP for Running Back is turning the curve ball of the first into a wild pitch (if Baseball metaphors are your thing). 4 tracks across the Disco Nihilist spectrum: The rare cheerfulness of ‘House Rent Boogie’ is backed up with a classic and no-nonsense RZ-1 beat symphony that is aptly titled ‘Beatdown Drums”, while the flip presents the masked mania of ‘Film Grain’ and some grumpy grittiness with ‘Operator Select”.
The new release from Don’t imprint features two sublime 1988 Belgian New Beat classics from Zsa Zsa Laboum and HN03. Laboum’s “Something Scary” is perhaps the archetypal New Beat track, commencing with a sample lifted from the dodgy 80s B Movie “The Entity” and displaying some excellent percussion and a powerful and obscure acid line – it still sounds excellent some twenty four years later. On the flip is the R&S classic “Doughnut Dollies” from New Beat icon Eric Beysens under his HN03 moniker features. It’s grubby industrial arpeggio sounding equally vibrant today – especially pitched way down to -8 like the New Beat guys used to do!
Delroy Edwards steps up with his debut release for L.I.E.S. Musically Edwards takes his influences from that Barney’s Ghetto sound with oversaturated 909 shuffling highs, DX bells, 101 filters and ends up making fresh, and yes, melodic ghetto style tracks that somehow get stuck in your head even without vocals. A unique take on a modern classic with the dancefloor in mind.
The first offering on Boom Chik comes from N & N Tracks. Produced by Neville Watson and Nigel Rogers (aka Perseus Traxx) in an impromptu recording session lasting just one afternoon, the love of classic sounding Chicago tones and feelings are immediately present. The sound is that of effect drenched raw machinery, hammering out beats and synth parts intended to transport you on the dance floor, all beaten out of the machines live to tape with Neville and Nigel just performing the occasional edit here and there.
The mysterious Donnie Tempo has been producing house music for over twenty years. His first release as Donnie Tempo was back in 2001 on Larry Heard’s Alleviated Records, demonstrating his old school acid inspired productions. Donnie Tempo unleashes the ”Systems On EP” due for release in September on MAMSW. The EP drops two previously unreleased tracks recorded between 1989-91 and one new production ”TCB”, that shows that the original Chicago house sound still runs deep. Finally, Donnie has found a new home to release the uncharted authentic house jamz that he’s created.
The second release on Gangsigns comes in the shape of Acidliner’s ‘Funkhouse’. Funkhouse quite simply rolls. A pure acid house burner. It’s not house, it’s not techno, it’s not bass – it’s a roller. It combines all these styles with ease. No glitz or glamour – just pure electronic funk. Simply devastating. White Science on the flip dips the 303 into a more aquatic electro affair. Hats sizzle, claps jump in and out while the acid line weaves it’s way round some serious 808 action. It’s a mover for sure and a perfect partner to the all out groove of the a side.
New misterious label from Berlin called Stallion. The first EP contains 4 tracks on the vinyl with an additional 2 locked grooves. Comprising of tough basslines, furious percussion, piercing stabs, industrial overtones and drifting melodies. Raw, stripped down techno tracks distrilled to their simplest and most effective form.
The Kontra-Musik white label series is back with more dirty techno experiments from the trio Frak. Excellent raw and edgy old school Acid House/Electro/Post Punk informed cut.
KILLEKILL 009 comes from Alex Cortex with some vintage material recorded in the years 1996-2000, raw and substantial. With Future Acid the A-Side features a bomb acid track recorded live at the legendary HD800 club in Mannheim, which displays the raw power of Alex’ live sets. The B-Side features R-BYTE, a minimalistic Chicago-style stomper and MEM, a hood-like abstract and minimalistic techno piece.
First appearance of this small-scale vinyl imprint from the east of Holland with a split-release by the well-respected Aroy Dee and Perseus Traxx. Both of them are known for their deep analogue house music productions with raw and sharp edges, but most recognizable in their work is the presence of true emotions. This will also be the distinctive element for the labels future output: emotive electronic music with the soul deep within. Honest and unpolished music that is inspired by everyday life, whether it comes from pain or joy. Perseus Traxx kicks off with an immersive, slow building and uplifting track, followed by a moody but hypnotic and slightly acid inspired piece. Aroy Dee takes care of the flip-side, with a dreamy and atmospheric track, and one raw, surprising and energetic cut.
This inaugural release on Modular Cowboy features brand new material from Cheap & Deep (a.k.a. Jay Ahern) alongside two remixes of “Words, Breaths and Pauses,” a track originally released as a limited edition 12” via Berlin’s Hard Wax shop. The remixes come courtesy of Norman Nodge as well as duo Jonsson/Alter. The release also marks Cheap and Deep’s return to the scene, with the new track “Beautiful,” a modern take on the Chicago acid house tradition, featuring vocals by Crissy Liu with additional production by Morgan Packard.
The Hipodrome Of Music 