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.
First record of the “Raval Rave Breakers” compilation. This VVAA contains 5 tracks of electro with artists like Boris Divider, the remix of the American Patricia to the Argentinean Nehuen, or the flagship artist of M.U.S.A, RNXRX delivers a psychedelic jam, an industrial acid track as catchy as it can be. Heroine From The North sounds a bit like when New Beat became faster and more agressive, being mixed with styles like EBM and trance.
For his new release on Nona Records Brooklyner Max Ravitz changes the formula again and delivers five spirited acid electro tracks .Continuing to tool and retool his modular synth rack, on ‘Free Lunch’ Ravitz produces energetic electro tracks that show a shift from the familiar hazy murkiness to a more present sound and almost song-like writing that introduces some more layered melodies, acid grooves and luscious pointillism.
Koova returns to Brokntoys for a second EP after his Empty Spaces . Conducere presents the producer showcasing his personal take on the genre, with 4 tracks of tense, melodic electro. The EP is backed up by a remix by Max Ravitz AKA Patricia who takes the originals into eerie, ghostly territory.
Max Ravitz has made a name for himself with his hazed dance not dance productions over these last couple of years appearing on a handful of different labels under a handful of different monikers. Here on the 15 track, ”Common Purpose” cd we get Ravitz in all of his different forms as he teams up with numerous artists from his local Brooklyn scene and beyond, serving up unheard cuts from numerous recording sessions done over the last years. Through the record we hear the producer’s versatility from tripped out downtempo vibes, to mid-paced acid, to high bpm dust burners, as Ravitz and Co. explore almost all possible avenues while in the studio. Collaborators include Huerco S., Jahiliyya Fields, NGLY, Terekke, Bookworms, Cloudface, and Josephine.
New Yorkers Matt Morandi (Jahiliyya Fields) and Max Ravitz (Patricia) take the buyout, cash in their 401k’s, and opt for early retirement down to ”Deep Florida” on their debut LP for L.I.E.S. Titles like Humid Widow, Dark Duties, and Chasing the Dream set the tone for what can only be called a tropical storm of synthesizer chaos atop dusted drum programming and hazy vibes.
Patricia returns to Opal Tapes and carries on his excursions into dusty analog techno with this six tracker featuring a collaboration with Vancouver-based Cloudface!
Bookworms and Max Ravitz aka Patricia team up as Pulpo and givimg you some dusty Brooklyn haze. While it may be challenging for most dancefloors, the guts and murk of these tracks are sure to get you in the proper headspace for a night sinking deep into the couch.
The Hungarian Farbwechsel’s first vinyl release has arrived, and it’s a real international effort featuring five artists from four countries on four tracks. Gazing through the Venetian blinds, it’s the label’s promising talent, Route 8 kicking it off with a vibing, 90s inspired house cut. Next up, Lumigraph and Patricia reset with a slow-churning, acid-flavoured techno. It’s the sort of track you would expect to be played on an endless loop in all coal mines 500m below ground level. On the back side, Farbwechsel’s founding father, S Olbricht gets in motion with the weirdly melodic. To close it off, it’s another label head, Basic House of Opal Tapes fame testing your stamina with the EP’s most direct, uptempo track.
In addition to his solo work as Patricia, Brooklyn-based Max Ravitz also spends his time in several collaborative projects. There is Inhalants with Jahiliyya Fields, the superbly punned Patreke with Terekke and Masks with Alexis ‘Arp’ Georgopoulos. As Arp, Georgopoulos has been responsible for some wonderful releases on Smalltown Supersound and RVNG, though as you’d expect Masks finds the artist deviating much closer to the dancefloor. The Food Plus Drug (II) 12″ for Opal Tapes will appeal to fans of hazy, smoked out techno (think Huerco S) with “Zebra” the sort of track that will bend minds on the dancefloor.
Nous #4 is here featuring 5 moody, tracky cuts by Berlin’s enigmatic Spoiled Drama. The show stealer comes courtesy of NY’s Patricia who takes the lead track’s disembodied vocal sample and proceeds to intertwine it around an at once sinister yet beatific piece of atmospheric po-mo techno.
Inhalants is a duo comprising of Jahiliyya Fields & Patricia….ooh and it’s killer combination.