Another elusive drop from Japan’s Uchitoshi. One of many nomadic Minimal releases from yoyaku’s sublabel project YYK no label; an outlet dedicated to Japanese producers jostling at the forefront of the electronic underground.
A crucial and surprising repress from PHIL; a label centred around deep, personal and timeless electronics. Back in 2009 just 150 copies of Simon Hinter’s ‘Take Care’ EP were pressed, a quality record lost to those swift enough to grab one - until now.
Criminally underrated producer Sangre Voss takes the helm on new imprint series Third Place Dance Discs. The aptly titled ‘Dance Class’ EP features 4 genre-bending cuts that border on the schizophrenic. Whimsical, stylish and overflowing with fuel for dancefloor bodies.
Fresh to the Zwart Good distro, CYB (aka Alessio Ciborio Gioffredi) and Elisa Batti unveil their first release on new project/imprint Immaterial.Archives. Born from a shared affinity with synthesisers, analogue machinery and part-melodic-part-punishing techno; Between Viewers and Spaces represents the duo’s insatiable lust for shadowy, complex textures and cinematic boldness.
Istanbul based producer Ismail Genç aka Havantepe has had something of an illustrious career. Surfing on the fringes of genre, meditative atmospheres and meticulous composition sit at the core of his sculptured sounds. And in this vein the Robo Owl EP certainly delivers. A cauldron of slung-back techno, minimal breaks and teasing electro, strung together by a dreamy common denominator. It’s majestic blue sleeve a symbolic gateway into the impending dreamscape.
V1 charts the first physical release on collective-turned-label Cyberspeak. The LP features 4 original cuts from producing duo Train to Eltanin, with an additional Ghost Mix interpretation from Grienkho. Inspired by the intricacies of digital programming and the internet as language, V1 marries elements of glitch, electro-funk, jungle and broken beat under a versatile club banner. The shifting tones of the tracks characterised but the cryptic fonts and symbols emblazoned on the sleeve.
A drifting arrangement of ambient sounds and complex textures grounded by an Electro-IDM pulse. Veteran producer Mesak calls upon Finnish peers Mono Junk, Claws Costeau and Antti Hevosmaa to orchestrate a masterclass in experimental electronica. The sleeve art, rendered by artists-architect Natacha Mankowski, echoing the post-digital form of the music.
A vacant sleeve. Plain text hand stamped on the A side, a smeared impression of “ohne kommerziellen wert” on the reverse. The precedent is set for the music etched within. OHNE 001 makes the Hamberg-based label’s agenda clear - a first time release where the music does the talking. A meandering, yet tight sonic narrative suitably binds the 4 track EP. And while big room techno sits at it’s core, subtle deviations make for one thrilling ride.
From the first glance of the artwork to placing down the needle on the first cut the Minor Forms EP by Francis Harris generates a warm inviting feel that sure lives up to those preconceptions as the record unfolds. After a short hiatus from his house driven endeavours Francis’s returning record falls on his own outlet Scissor and Thread. The record features two originals on the A side met with a double remix by Valentino Mora on the flip.
Over the last few years, the name ‘Florian Kupfer’ has made its way onto many people’s radar. His previous work has seen the light of day on both Ron Morelli’s labels, Willie burns W.T.Records, Ninja Tune’s Technicolour as well as the much loved white label Sade Bootleg. His first release of 2017 comes on the imprint Private Persons, a label coming out of Moscow, Russia. Although the label is still very much in its infancy there paving their way with big steps as seen in this 3 track EP.
Skee Mask has been working solely with Illian Tape since his first release in 2014. After an exciting debut album it comes as no surprise his latest 4 track EP, an exciting blend of techno and ambient sounds, falls on the same platform yet again. The Munich based DJ/Producer is some what of a mystery and tries to maintain being unidentified, however his appearances more and more on the labels showcases across Europe are making him a regular face to many. Yet people are still asking ‘Who is Skee Mask?’.
London outfit Berceuse Héroïque have taken little time to set the tone for the year ahead as we step into 2017. BH036 their second release of the year comes from George Thompson, aka 'Black Merlin’, who's catalogue of releases is really somewhat impressive. In this edition the spiritually provoked 4 track EP provides an array of different tones from track to track with high energy dance floor peaks yet also more down-tempo introspective lows.
Tenderloins has spent the past couple of years building his sound with releases on labels such as Sounds Of the Universe, Yoruba Records and of course his own imprint 22a. The vinyl only label was founded in 2013 alongside 4 close friends who are all affiliated to the ever growing Peckham music scene. After the success of 22a001, a split by Tenderlionious & Al Dobson Jr, the label has spent the last few years gaining momentum leading us to their first 'mini' album release.
The thing about 22a is you can never tie them down to one particular sound. This mini album showcases a range of music influences from jazz to break and afrobeat, whilst also maintaining a very contemporary deep house manner. The opening track ‘Ghana’, an afro inspired cut, sets the tone with slick shuffling rhythms, sleazy keys and of course the Tenderlonious signature flute.
Shorter tracks like 'autumn leaves', 'Oedo Bushi' and 'Dales Corner' take you down in tempo and all share similar choppy cuts and scattered drum work. However, the tracks also build tension with deep breaks and hypnotic flute lines making them perfect for the after party. Cuts B.1 (above) & B.2 have a more upbeat, hands in the air, dance floor feel. The progressive keys, ever building drums and bold chords are a nice contrast to the rest of the tracks tying the mini album together elegantly.
Cuts B.1 (above) & B.2 have a more upbeat, hands in the air, dance floor feel. The progressive keys, ever building drums and bold chords are a nice contrast to the rest of the tracks tying the mini album together elegantly.
EYE first come to light last year with her debut release ‘Your Face In Dolby’ which was issued on cassette in very limited numbers and was neatly conceptualised with a mini collage hand stamped b&w poster and booklet with lyrics included. Since then we have seen a couple of follow up releases handled in a similar fashion, however, for this 8 track debut album we are lucky enough to have something we can stick under the needle no thanks to local label Knekelhuis.
The force behind the project is French synth enthusiast Laurene Exposit. Laurene has built a reputation as someone with a great passion for 80’s synth based music and has done a great job of showcasing her diverse influences through her recent project. Based in Rennes, over the past couple of years she has been running her label 'Waving Hands Records'. The labels ethos is to promote artists from there local scene whilst digging out older, missed and forgotten names.
There is a definite sense of narrative throughout the LP, it manages to take you down into slower, dark more thought provoking spaces then knocks you back with 140 bpm’s of pure electronically fueled energy. The tracks are fused together with a distinct distorted color and along with it's gritty slick instrumentals the records an analog delight.
The title track ’Sabine’ is a trippy down-tempo number with gentle melodies and eerie french vocals, tracks like 'Harvest Heart' and 'Your so fine ' also share a very similar softer heartfelt tone. Breaking the ambience are cuts like 'Undress', 'There Is' and 'Nachtwasser' that pack a more fierce Italo meets proto-techno manner using bass filled arpeggiated synth lines and warping modulated stab notes.
The LP is finally tied together gracefully with closing track 'Soft Grey Moon'. A sweet electronic symphony with minimal drum work but layered in peaceful, warm melodies creating a dream like ambience.
'Believing that anything other than the music doing the talking is detracting from its purity, the elusive AWOL's ideology shines through with the delivery of these heavy hitting Techno bombs'
AWOL or awol (ā′wôl′)
Absent without leave.
One who is absent without leave.
As the summer draws to an end and we are slowly but surely immersed by the cold the mysterious yet conceptual 'AWOL' emerges out of the darkness with 3 timeless techno tracks. The provocative name ‘AWOL’ accounts for both the artist and label name, a platform created to release an anonymous series of hand stamped records via Lobster Distribution. Alongside a sinister conceptual name the track titles continue the enigma with them not to be mistaken for numbers, dots and dashes yet a series of co ordinates; chase the code, find the gold.
The three tracks share a similar relation in sound yet cater for both the club and the after party showing a comprehensive understanding in techno rave culture. The EP’s opening cut ’55.014393, -1.402942’ is a homage to 90’s rave that still maintains an essence of the now. The drums start the track off with the heavy grit of the kick punching through the crispy singing hats, which are tied together by a pop shot snare that we hear consistently throughout the EP. The synth lines are very minimal but there arrangement and intensity in the breaks make them very playful and up lifting.
B1. Sees AWOL drop into a spaced-out after hour’s mode: its stripped backed approach gives emphasises to the lead that’s able to soothingly captivate with its atmospheric manner. It still packs plenty drive no thanks to the drums but doesn’t quite share the same energy as the other two cuts. The final track brings us back to the dance floor, a classic off beat open high hat, double time swinging percussion and a punchy rolling kick pattern reminiscent again of 90’s warehouse sounds. However, as the track progresses the deep hypnotising synth work give the cut dubby textures making it an interesting blend of the old and the new.
A very promising debut EP, 002 to be released in the coming months.
Artwork by Bookless from Jaunt Records.
Since 2009, year-by-year Dark Entries have been gaining momentum and have built a solid reputation as an outlet that is filling gaps in dance music history. Revisiting the great, the weird and the strange, the label ranges from that which may have been forgotten to that which may be high in demand. Amongst these fine lessons in music history the label also finds time to deliver more modern and contemporary cuts releasing names like Bezier and Frak to name a couple. Behind this instalment is Barcelona-based Colombian Victor Lenis, AKA Cute Heels, who last appeared on the imprint in 2014. Since then Victor has become well known for his Italo techno fusion and built this reputation with releases on labels such as Schrödinger's Box.
In the two tracks from the Colombian there is little messing around from the first beat, both tracks possess a spooky sinister tone reverent of 80’s new wave influences. The cuts share similar solid 4/4 drum work rich in reverb and fused with distortion. The title track has playful, acid arpeggiated synth lines merging and captivating with depth and drive. As the track progresses the percussion work floods in with snaps, crackles, pops and huge gated reverbs. ‘Lipstick Information’ shares a similar playful aquatic synth work in the low end, however, shows brighter tones with more melodic high frequency synth lines.
Contributing to the two remixes of the title track are ‘The Hacker’ and an interesting choice in ‘Steffi’. Steffi brings to the table what we have come to expect from her; dark Berlin tones, driving groove and banging drums. The Hacker however, puts together a very stripped approach in comparison to the other cuts with a down tempo version that still packs a whopping punch.
When your ethos as a label is to promote unreleased or little known artists you pray to find a diamond in the rough such as TK Lawrence. Lower Manhattan born, Brooklyn raised and now residing in upstate New York, TK steps up out of nowhere to handle the second installment on Cavalier. The all vinyl Irish label takes a buzz from placing new producers into record stores for the first time.
Following the release of his second album on Minimal Wave, Danny Bosten presents 7 inches of downtempo modular madness on his own label Tear Apart Tapes. Dating back to the early 80s, Danny’s musical journey started from a bedroom studio consisting of borrowed synths where he formed Das Ding. Shortly after he started a cassette label electro outfit, Tear Apart Tapes, releasing music to sell and trade. Originally from the south of the Netherlands, Danny moved to Amsterdam where he was involved with pirate radio shows while working on obscure industrial musical projects and pursuing a career as a graphic designer. Although Danny enlightened us, he never stopped making music. It wasn't until Minimal Wave partly re-issued H.S.T.A, an album released in 1985, had his burning passion to make music become more than just a hobby once again.
In what’s been called "More or less an homage to (very) early Kraftwerk” the EP is available to buy on 7”, a format not so commonly associated with Tear Apart Tapes. As always, the record is accompanied by graphic work done by the man himself in what seems to be in honour of the machines. Take a minute to watch the music video accompanied with the A side as it provides an insight into the creative work Danny does outside of music.
The A-side ‘Nerds’ is a therapeutically repetitive, club-ready, sinister new wave journey. In its five extraordinarily minimal minutes, the track features solid but basic drums with all the punch loaded into a dominating gated snare. Its exceptionally cemented bass line carries an industrially raw sound that takes us from start to finish, accompanied at times by subtle subterranean notes which add to the lower end. Its floating synth lines and gritty guitar riff fit nicely around the centrepiece taking the track to different heights throughout, creating a feeling of being lost in time and space.
The flip side is a total contrast to the A, carrying a sort of dawning of the day feel: chirping birds with a dream-like refreshing essence. The cut starts off with a singular bass note falling into rhythm which holds the body of the track throughout. A heavily modulated square wave runs up and down its scale giving the track depth while holding the low-end together alongside the bass. Again, the track features a huge gated snare that together with the rest of the drums brings a consistency much like, and linking nicely back into, the A side; simply does it. The comments regarding the homage to very early Kraftwerk are definitely more apparent on the B-side, which are displayed in a spectacular fashion.
Alongside people like Flemming Dallum and Greg Wilson you are another
artist whose work in the 80’s is being relived and opening the door to
possible new musical adventures. After nearly 20 years how are you
enjoying it and did you ever think you could be in this position?
I like it, of course, it's great. It's like, lots of people have this
nagging sensation that they should 'do something', or, you know, 'make
something', then someone comes along and says 'hey, you already did
that!'' So it feels good and certainly boosts your self-confidence. For
that I can thank Veronica Vasicka and Frans de Waard.
Minimal Wave reaching out and reissuing part of H.S.T.A. alongside some
unreleased tracks played a vital part in this. Up until then what was
your involvement with music, did you still get behind the knobs much?
I never stopped making music, played in bands, did pirate radio, made
soundscapes etc, etc.
Aside from the minimal wave releases you have also reincarnated Tear
Apart Tapes, what can we come to expect from the label in the future?
I will alternate my own tracks (on 7-inch only) with work by others.
Next up we'll do a re-issue of Les Yeux Interdits' 'Prison', which was
on a Minimal Wave 7-inch but has long since sold out.
Although you now call Rotterdam home you had previously lived here in
Amsterdam working on pirate radio shows. How was your time spent in
Amsterdam, what memories can you share and what were your reasons for
Yeah that was nice. I was sideways involved with the squatter scene, witnessed some riots, went to art school, made some good friends, was part of an artist collective called 'STORT' which did some outrageous shows. I wrote the speeches. I got a job and it moved to Rotterdam eventually, so... Now it's cancelled due to the budget cuts in cultural funding and I'm unemployed again. Never thought that 80ies-revival would be so literal!
In the last 20 years the industry has changed in many ways, the digital
era being the most significant. Although some might say things are
starting to even out slightly I’m sure you can see a massive difference.
Do you feel a need to change your approach or will you continue to let
things unfold in an organic manner?
It's good to be part of a network, whichever form it takes. I'm lucky
to have fallen in with a good crowd here in Rotterdam. Besides that,
Bandcamp is nice, Soundcloud is OK, but artists being ripped-off is a
phenomenon that will never go away I think.
That being said, how is your studio looking now compared to the early
days? Have there been many additions over the past three decades?
Things have come and gone. I like the cheaper Roland stuff, 606 and 202
and 101, those will always stay. Besides that I build a lot of modular
stuff that is slowly taking over my studio. So it's a lot bigger and
more organised than in the old days.
And finally, please leave us with a track that still to this day inspires
you to make music?
New Order's 'Ecstasy'
Rhythm Section International, now in its second year, revisits this mini-album EP which possesses a unique sound that displays a defining 90's RnB influence. After its release on cassette late 2015, the album is now available on 12”, cleverly landing ready for the summer season that is rapidly creeping in. The label has built a reputation as a platform providing forward-thinking music to be loved and consumed, which makes it easy to understand why it was nominated for label of the year in 2015. In this release, label owner Bradley Zero is once again playing true to his chosen name “International”, although the label and a number of its connected artists hail from Peckham, London.
Behind the piece is producer/multi-instrumentalist SilentJay alongside frontman Jace XL who are both working out of Melbourne, Australia. The duo’s debut performance on the world-renowned Boiler Room and has since led them to tour their home country as well as playing together regularly in and around the “impossibly fertile” Melbourne scene. Their latest collaboration is as if your hip-hop mindset met 90’s RnB and all the jazz/soul records you were shown as a kid, resulting in a passionately narrated tale about young love.
The key to the album is its simplicity; the 8 tracks are enriched with minimal grooves and organic sounds with a real Peven Everett type flavour. Of course, a vocalist would be lost without beats, but Jace XL brings the heat and makes his role in the operation just as vital. His piercing vocals at times are hypnotising, and if you’re listening with your undivided attention you can totally see the picture he is trying to paint. A great example would be the intro, as the spoken word gives us an ethos about getting by as a 90’s kid; an insight to staying true in a misleading world. Generally, the drum work is very pure and wholesome, but in tracks like “Just Waking Up” SilentJay goes in on the drum machine with bold kicks, tight snares and double-time hats smothered in distortion. The complexities of the tracks don’t go much further than beats, bass, keys and deep hooks, but the pair sure pull it off.
Personal favourite “Rockabye” kills it with its J Dilla style Rhodes and moving breaks. The track has a solid, classic hip-hop drum loop at the base that features a minimal riff and a baseline that hits you to the core. What to be said about the vocals? Well, you should probably just listen to the track…
AVAILABLE TO BUY IN STORE ONLY
“In Spain the soup is harsh but tasty served cold to staff in empty winter discos it replenishes their souls devoid of joy as they scavenge through left behind belongings. The Beatle grins and stirs the pot, his recipe of gruesome memories reverberates through the stagnant air as tears fall into stale sangria.”
Unknown artist The Beatle delivers 6 deconstructive cuts on the third instalment of mysterious dutch label Tapenade. There is little to be known about tapenade at present, apart from that they like to churn out obscure edits, but it would seem the label is deriving from The Hague. The Beatle rolls back the years and puts his/hers/there? distorted imprint on a series of classics across the musical spectrum using heavy cuts and innovative drum loops resulting in a number of dance floor ready grooves.
The opening record paints the picture for whats in store and it sure isn’t what we have come to expect in this time where rare original reworks are coming in left right and centre. In fact The Beatle’s start to the tale is quite the contrary as the original was the debut single of dutch artist Jacco Gardner, released only a few years ago. Gardner is recognised for his 60s psychedelic influences which is complimented gracefully with subtle effects and vocal samples much a like the classic vocoder vocals associated with Italo.
“Do It Yeah” is an interesting rework of Atlanta based American hip hop group Arrested Development’s hit of the 90’s “People Everyday”, which helped the group achieve 2 grammy awards in 1993. Its rough cuts and slick drum work give the track a captivating rhythm seducing the listener. The infectious vocal work still pays homage to the original however gives the edit more depth making the record a real party pleaser.
Of particular interest is the Bob Marley - So Much Trouble In The World cut; the track is driven and high in tempo, which is a stark contrast to the laid-back, chilled-out ethos that both the original version and the reggae genre are founded upon. However, the track’s message remains the same.
“The way earthly thin's are goin, Anything can happen.”
Alongside a couple of well known gems are some real obscurities, the type of records you don’t find in everybody’s collections and maybe not all for the right reasons but The Beatle’s modern touch sure brings them back to life.