Daniel Stefanik’s “In Days Of Old” makes KANN05 kind of a concept EP. His three intoxicating untitled tracks feel like a tribute to his own influences and inspirations. We are very pleased to give him a cherished home for that. Heart-crafted, beloved dance music
Bruce Ivery with a three tracker “The Things I Want”. Thre tracks of futuristic house music, with a nod to Lil Louis’s ‘Y u fall’ on one of the tarcks.
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Another edition of Soma’s annual compilation series, this time featuring previously unreleased contributions from Slam and Gary Beck, with further cuts from Let’s Go Outside, Funk D’Void, Sian and Joris Voorn. Quite unexpectedly, Autechre are involved too, supplying a remix of The Black Dog’s ‘Tunnels OV Set’. Getting first dibs, Itamar Sagi’s ‘One Million Oaks’ ushers in the album with a fine piece of tech-house production spurred on by driving chord stabs so restrained that they seem to imply a melody more than actually deliver one. Further into the sequence and Soma bosses Slam take on a solid remix of Samuel L. Session’s ‘Can You Relate’ with neatly evolving drum patterns underlined by flurrying synths and modulating, drone-like sustains. Other highlights include the minimal opus ‘Jelle’, by super-group Mihalis Safras, Mark Broom and Jelle Kuipers and Ripperton’s great remix of Silicone Soul’s ‘Dust Ballad II’, featuring haunting vocals, big Detroit-style strings and great, in-depth drum production. A good, strong selection all-round.
Originally released on Aubrey’s defunct label Dark, this untitled track is an 8-minute trip into a deep Basic Channel-like atmosphere. Dubbed out techno, melancholically resounding deep chords all layered on reverberating throbbing beats. The release comes with 2 perfectly fitting remixes by Modern Love artists Pendle Coven and Geophone’s Mike Parker.
The Return of Mr C! The man that brought us many nice releases on his Plink Plonk label in the 90’s. Some deep techno tracks with lush strings, pads & beautiful melodies and a 90’s Detroit atmosphere.
First out the gates is 3024-006, helmed by a pair of artists as unique as they are elusive; Zomby and Redshape. Easily one of the most talked about new producers of the last few years Zomby continues to evolve upwards and out, never settling on a particular style and constantly twisting the technicolour DNA of his output. Those smeared neon fingerprints are all over his reworking of Hear Me’ which lights up clattering percussion and a black hole of a bass drop with layers of sparkling neon crystal SID chip melodies. Tackling “Seventy Four” on the flip side is determinedly enigmatic Techno classicist Redshape. Responsible for a string of unashamedly human releases since 2006, his rich organic sound has recently caught the imagination of a 4×4 scene beginning to look beyond icy [and boring] minimalism for inspiration. A highlight of the forthcoming Fabric 50: Martyn mix CD, the original’s glowering pulse is carefully built on with walls of murky analogue warmth and hissing industrial ambience before reaching a monolithic climax.
Immediate download of 4-track album in your choice of 320k mp3, FLAC, or just about any other format you could possibly desire, from Peter’s website.
When combining the energy of Berghain and Panorama Bar, together with a (in context) unusual side of dubstep, the Sub:stance club manages to take out the best of both “sides” – and fuse them into a concrete monster. Even though the sharp and ambitious sound may seem a bit uneasy as well as clever, the direction in which Sub:stance is going seems more natural than ever. Keeping the essence of the sounds that define dubstep, as well as the tempos, structure and attitude while fusing them together with a very techno-fied city and all the inspiration, aspiration as well as unique sense of bass music – Scuba seems more than just fit to create a mix CD of it all.
Vakant continues its VALT series with the third installment of uncompromising club tracks. Started in 2008 with Onur Özer and followed up by Tolga Fidan in 2009, Dario Zenker brings up VALT3 in 2010. Vakant’s representation in the decent south of Germany locates ‘Belfort’ as close to Detroit as it’s indefinite in time. Was it written by little Dario in the 90’s? Or maybe on a US tour in Detroit itself with some helping hands? We don’t know, but surely have a timeless piece of music here.
The first release on Phonica White Limited Series is from Okinawa’s Iori. This young producer’s impressive work ranges from woozy ambient electronics to full-on club tracks; the common thread is a highly developed sense of texture and arrangement. A-side “Galaxy” is simply lean, expertly crafted techno, led by a rolling bassline and crisp hi-hats, with hypnotic melody patterns skittering off the surface. It’s a trippy but accessible heads-down affair that has the depth and the bite to do damage at peak-time and in the after-hours alike. “Urge” on the flipside is an even deeper, sub-heavy cut, an insistent, club-friendly groove swathed in burbling synth arpeggios and FX. Despite being stripped-back, the sound design and sheer warmth of the production is incredible; the track really breathes.
This is a two-tracker of ultra-effective dancefloor material that will appeal to fans of Basic Channel, Ostgut-Ton, Sahko, Sleeparchive and other purveyors of bassy, surgically-focused techno.
