Running Back regular Redshape returns with Release Me. Four tracks and four deeper shades of Techno (or House?). It’s not a secret that the music of the man with the red mask is heavily influenced, inspired and informed by the blueprints and the symbolic language from the twin cities Detroit and Chicago.
‘Star’ is Perel’s Running Back debut. Picturing Perel’s development as a recording artist on the one hand and the hardships everyone had to experience since the world has been changed by a pandemic on the other, making it – in her word words – „an EP about crossing the „physical distance between the people I miss and love“. Opening with the riveting vocals of Star („This song is literally a love song for my people“), the three pieces also show Perel’s growing versatility as a producer. The tried and tested neon disco lights interchange with darker tones, uplifting and affirmative moments (Tour De Perel) rotate with contemplative and pondering intervals (Internal Monologue). Yet, by no means Perel is whistling a sad tune. Her melodies are as always deep, distinguishable and delightful to dance to.
AKSK is the collaborative effort of Adda Kaleh and Suzanne Kraft. Recorded over the course of almost seven years and despite local separation or virtual realities, it sums up the magic that already inhered in their debut song „Breaking“ for Gerd Janson’s „Musik for Autobahns“ compilation on Rush Hour. An eight track LP of crystalline chansons and pastels pop that features the skills of The Coober Pedy University Band aka CPUB (Tornado Wallace and William Paxton) on dub duties to complete the magical musical mysteries of AKSK.
Producer veteran Thee J Johanz from the Netherlands, a master of technology, deepness and a pinch of humor, debuts on Running Back with a 4 tracker that pays homage to the innovators of electro disco: Giorgio Moroder and Patrick Cowley. “Kickin ‘In” is actually a Patrick Cowley cover, the proceeds of which go to the San Francisco Aids Foundation.
4-Storie varied EP with classic Redshape tropes. From slow motion techno poems to clever DJ tools.
Welcome to the deeper end of the Hugh Mane spectrum. Mane’s third outing on Running Back captures his love for the spirit of early Detroit techno, IDM’s ambient aspects, the philosophy of the acid house experience and a natural production flow. Emotions electric. Vintage voodoo with modern spells.
A Sagittariun’s third album chronicles the journey back to Telepathic Heights; an expedition that encounters many obstacles along the way. The feuding parties of the two planets make for a journey of determination and self-discovery for our techno lone ranger that will ultimately deliver him to the sacred site on which Telepathic Heights stands. Conceived as a space western soundtrack to the cinematic interpretation of this tale, Return To Telepathic Heights delivers ten chapters that journal the ultimate mission to reach the imposing tower of Telepathic Heights, where dream telepathy has become the primary communicative tool amongst its peaceful and harmonious community who have opted out of the planetary war that continues to rage, seemingly with no armistice anytime soon. The score fittingly winds its way through the trials and tribulations of this journey, blending minimal and harmonic rhythms, industrial funk, dreamy synthwave and transcendental techno into the rich tapestry of music that documents the ‘Return To Telepathic Heights’. The album features original artwork by Johnny Bruck, fully licensed, and taken from the legendary German science fiction novel series, ‘Perry Rhodan’, which ran weekly from the early 1960s, and was the most successful sci-fi book series ever written.
What once started as an anonymous underground project with stamped white labels and a clever take on sampling, has since then unfolded to be one of the longest-running and most successful teams in current dance music. Nurtured by the sounds of the past and blessed with the techniques of today, the music of Tiger & Woods always kept evolving in and around the tropes of disco, house and boogie. Celebrating the 10th anniversary this year, Marco Passarani and Valerio Delphi managed to arrive at album number three. A.O.D. (adult oriented dance) is inspired by the faded buildings and images of discotheques on the Italian countryside, the romantic start and bittersweet endings of summer, beach life and the excitement of travelling through the landscape to get to aforementioned temples of dance and subsequently the morning after. Except for the 100% sample-free 1:00 am, everything on A.O.D. is based on a quiver of cleared samples from the Roman institution that is Claudio Donato and his Full Time and Goodymusic emporium. In Tiger & Woods hometown Rome, the often very electronic and futuristic sound of Italo Disco had a different twist. Much more boogie-based and influenced by the song-writing styles of New York City’s dance scene, it played in a league of its own. Tiger & Woods use these materials to take them apart, out of context and into contrasting areas. Molding something completely new, one gets fooled to recognize Sade songs that aren’t, pop music instrumentals and a reprise of memories that never existed. A ride through ones brain in a convertible with an Italian FM radio station playing in the background. Or to use less stiff poetry: a chill out album you can dance to or a dance album you can chill out to.
Numero due in the Super Sound Singles series on Running Back continues on the re-issue/update tip of inexpensive records. Big in the charts in 1985, the Italian queen of “romantic dance” made her second single “Get Closer” a clairvoyant poem about… errr… life and love: “when the world is running down – get closer”! Think stonewashed jeans, endless summers on Italian beaches, boats coming back to the shore. Remixed by fellow country men Tiger & Woods, “Get Closer” gets sandblasted into our modern times and the necessary treatment to be the peak- and night time hug fest, it’s always supposed to be. Add a run out tool by DJ Oyster and a gentle DJ-friendly edit by Gerd Janson of the original to the billboard.
Younger Rebinds is a new project and imaginary band by the inimitable and unstoppable Benny Rodrigues. Maybe best-known for his Rod moniker and releases on Klockworks, Rodrigues embodies and keeps the candour, spirit and curiosity that made techno music stand out in its start-up years – and that’s exactly what we have here. The “Retro 7 Ep” makes the most of the classic 707 drum machine, gnarly synths, ambient soundscapes, pianos and organs. Done in a way that is as much new wave, as it is electronic disco. Spread out over a double-pack with eight tracks (8!, get it), the Younger Rebinds hit the sweet spot between vintage DJ Hell aesthetics, Sterac Electronics and Trevor Jackson’s Metal Dance dogma, if its choir would be muted. Loud pressing and hypnotic artwork included. Please don’t look at it for more than 5 minutes.
Third time is a charm. The Analogue Acid Project by Todd Osborn and Tadd Mullinix resulted in two records in 2005 and 2006 that excelled at the fabrication of gritty acid jak tracks ow, Todd N Tadd alias TNT aka the dynamite duo finally returns. Their third outing and first one on Running Back, is a detonative reunion of old and new friends. With two previously unreleased beat tracks on one side plus carefully tailored reissues of Hotness (from the blue record) and Beat This House (from the red record), you get a box of dynamite sticks in various sizes for different situations. More than ten years later and still as explosive.
New release by Phillip Lauer on Running Back imprint. Post-house-proto-disco-trance rockets fuelled by new wave and sound transmissions from middle-wave Caucasus.
Shan on Running Back with his monolithic ‘Chord Memories”. An evocation of what dubbed out house and techno tracks usually do, but to a rather unusual and – if we dare say – devastating effect. The flip holds three short and direct cuts with leanings to the A-Side and one acid track.
New Cosmin TRG making his debut on Running Back. White label techno feel on this release with three stong slowly building cuts that slowly move further away from the old TRG titles.
Made in the basement of an old tram station circa 1990 in a town that was probably London, Hugh Manes first and only release so far consists of hidden gems on a vintage DAT. “Back Life” is the name of this EP’s back bone. A reflexion about golden age deep house, early morning baby powder dreams or epiphanies on strawberry fields. “Hard To Finish If You’re Finish” and “My Midi Is A Mess” are the continuation of those visions, while “Fukdemdiscoidkids” via a Tuff City Kids edit is a rough and ready beat track.
Matthew Styles serves three prime cuts with gravy sauce: “Montana” is a floating piece of break-beat science fiction house that gets backed up by ferocious bonus beats; “Hot!” is exactly that with a twist on a historical bass line, infectious vocal snippets, while “Sixty Ways” makes use of Dinky’s vocal skills.
“Square” is the follow up to Redshape’s album debut “The Dance Paradox” (Delsin, 2009) – that is if you don’t want to count the double impact 12-inch “Red Pack” as a long player. And indeed, it is a long player in the truest sense of the term. Pamphlets, theories and opinions about the dubious role of “the album” in techno are dime a dozen, i.e. squaring the circle, but the man with the mask makes an effort to prove all of them wrong. “Square” doesn’t care for styles, genres or expectations, it can hold its own. Spread across twelve tracks you are as likely to meet vintage Redshape on tracks like “It’s In The Rain” or “The Playground (Square Version)” as you will encounter new facets of him with the Hyperdub affiliated Space Ape featuring “Until We Burn” and “Moods And Mice” or with a cluster of ambience pieces (“Orange Clouds”, “Landing”, Departing”). Working its way through all these states and moments on and off the dance floor, through melancholy and industrial romanticism alike, “Square” leaves you with the feeling of having experienced an electronic music album with identity that trusts in itself and wants you to trust in it. No matter if your perspective comes from a classic album like Kenny Larkin’s “Metaphor” (R&S, 1995) or is informed by the recent retro futuristic developments in the United Kingdom, if techno means more than a desperately compressed kick drum to you, Redshape with all his idiosyncrasy finds his way into your heart.
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”.
Theo Parrish’s second visit to Running Back is all new material – almost. Black Mist in its extended version is just that: an extended take of the already released version on the rare-as-hens’-teeth Sketches pack. Previously unreleased and no less persuasive are Pop Off and Wild Out. While the first one centers around an endless piano and sucks you into the magic of repetition, the second one sounds like a Theo Parrish demo for Dance Mania after he came back from listening to Lil Louis at the Bismark Pavilion.
The Helium Robots aka Ewan Wilmott make imaginative Factory-Records-electro-balearic-disco, errr, and robot music. Two tracks of that caliber are placed on the a-side. The flip has Theo Parrish laying his gifted hands on Jarza to two different outcomes. ”Translation 1” is an up-to-date Parrish space cadet trip, while the second take emphases the dark and typical Theo magic in his roots house period.