Rotterdam’s Ian Martin has brought his own brand of dark ambient and unsettling electronics to a stellar clutch of labels. Of these, it is the Bunker/Panzerkreuz crew that Martin has become most readily associated with, perhaps due to the fact label and artist reside in the Netherlands. Wright Seer finds Martin back on Panzerkreuz for his first release of 2016 and features five more untitled tracks of subtle drone-electro hybrids that sound all the more mind-bending with each successive listen.
“The Girl and the Chameleon” will probably fall under the genre tags of acid, electro and techno but it is so much more. Robert Witschkowski has been responsible for exemplary electronics throughout his career and this latest is undeniably some of his best. The album sees The Exaltics don a dust mask. Warehouse parties, strobe lights and fog machines and the 90s underground acid scene are definite influences. But there’s more. Across thirteen tracks and two slabs of wax the Jena artist takes you on a journey into his world. Gnarled and clinical grooves, caustic 303 encounters, depraved dancefloor destroyers and soothing machine music. A sonic trek through tough and taut textures with touches of tenderness. An album that shows a depth of ability, an enviable talent and a knowledge of how to break floorboards.
New project by Marcello Napoletano and Robert Crash on their own Fottute Registrazioni label. 150 copies only!
Mono Junk delivers four pieces of pure Finnish melancholia for Rat Life’s 7th release. This guy is a true European techno originator and like no one he reflects the darkness of the long, cold and lonely winters of suomi in his music. While listening to these tracks you will find yourself wondering: are these voices coming from the speakers or are you listening to your own morbid thoughts? Perfect soundtrack for your winter depression. Can’t understand what you say!
Raw M.T. on Lobster Theremin label with three thundering granite slabs of techno and house. The spirit of US house genres raises it’s head once again, fuelled by a raw, scorched-earth production aesthetic coming from the deepest lair of the Italian producer.
Cardopusher appears as if by magic on Super Rhythm Trax to drop four Acid bangers. There are no frills or pretensions here, just jugular acid trax that don’t mess around. Straight up, solid and perfect for dark strobe lit basements this EP channels the rawness with aplomb.
Another solid VA on the Planet Rhythm imprint. Usual suspect ‘Yan Cook’ opens up with the sturdy techno-cut ”Canyon”. Steve Parker delivers some hypnotic acid business. Boys of the moment TWR72 come up with an intrusive bit of strongarm Techno. Alderaan closes down this EP with his arp anthem Xem.
Reflection is beginning 2016 with the long awaited return of Abstract Division to their native imprint, by the release of their first ever double EP: Contemporary Spaces. Not set out to be an album, but certainly being more than just an EP, Contemporary Spaces explores the current state of techno, providing the listener with wayward and timeless pieces drawing their inspiration from the broad spectrum of electronic music. Yet, while each individual track stands in its own place and time within this spectrum, the EP as a whole compliments the diversity of past, present and future influences and styles. Contemporary Spaces is one of their most extensive and widely aimed projects to date and solely consists of original material.
The third release from Lanthan Audio. The title track and “Dusted” are two original tracks of deep techno from Echologist, aka Brendon Moeller. Remixes of the title track also come from Deepbass and Antonio Ruscito.
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.
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.
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.
The Hipodrome Of Music 