Scheduled for September 26th as cat.no.027 of the great Psychocandies-imprint is the "Untitled EP" which contains - as the name might suggest - two untitled tracks by the mysterious project The 808 Hillybillys which are about to rock dancefloors with their classic approach for a reason. Track one, spread out over approx 7.5 minutes, is a blueprint for stripped down - not: minimal - yet demanding Techno with layers and layers of razor sharp hi-hats building up whilst a short, acidic loop is propelling its way back'n'forth through the dancing punters braincells, keeping its spiralling momentum to the very end. Talking the untitled second track on this digital single we're taking off into the spheres of floating, uplifting and well-mesmerizing AcidTrance of the classic kind, built on decent, bubbly 303-modulations and nice, carefully arranged strings slowly beaming crowds into lovely, rainbow-coloured heavens. We like this.
[baze.djunkiii / www.nitestylez.de / #scrt_brln]
Scheduled for release on September 5th via the Cat Werk Imprint is "Beauty Sleep", the fifth full-length album workout of Olivia Louvel which approaches the realms of mystical, haunted, probably even bewitched and defo song-induced Downtempo / TripHop under the influence of a few folk'ish, ritual and sometimes even theatrical elements and the occasional Bjørk'ish, experimental eruptions touched by Noize and playful electronics alike - see especially track 3, "Bloody", for this one which is, alongside the intense Slow Rave jam "Polytypes Of Love", one of the most thrilling cuts on "Beauty Sleep". Returning to - twisted, but still - song format after her last album piece, it seems, at least according to the info sheet this is, that she's dealing with the overall concept of animalism on this one conceptually, although this might happen on the meta-side of things only as the lyrics do not unveil direct clues that point towards this conception. What Olivia Louvel unveils instead is one of the most fascinating song-bound albums we've heard in a while, one that really tells a s-t-o-r-y of cloudy forests, long lost secrets and scary spells, of hermaphroditic beings, supernatural powers and more supernatural mystery. Recommended.
[baze.djunkiii / www.nitestylez.de / #scrt_brln]
A new three track EP from the man they call Sascha Müller on his very own imprint who's surely ready to rock some dancefloors with his tunes "Blahshit 1 - 3" which are - to be honest - the total opposite of what their names suggest. "Blahshit 1" is a tense, hectic and uberly nervous ride on a twisted Motor City bus with engines running on red scale and only the fastest cut and mix jocks occupying the drivers seat. With "Blahshit 2" we're entering hypnotizing uptempo Acid realms - a tune so massive and mid-90s that huge warehouses, heavy strobe light attacks and firing lasers immediately come to mind, accompanying the musical trip of a heaving multithousands-strong crowd covered in sweat and heavenly ecstasy. Finally "Blahshit 3" takes Acid to a more stripped down but still ever moving level with super dry drum works, bouncing 303 lines, raw electroid claps as well as a psyched out, spiralling three tone sequence that's cutting twisted braincells into pieces for a reason. Dope one - check!
[baze.djunkiii / www.nitestylez.de / #scrt_brln]
Recently released via the Outelectronics label is the debut album of the young producer Summed, better known as Filippo Bologna to his family and friends. Entitled "Left-Handed" his first longplay assault - and seemingly first ever release at all - is somewhat located in between the realms of deeper, pad-driven Electronica with a peaceful twist which have been entangled with raw, unprocessed and deeply experimental Dubstep vibes beatwise, reminiscing of the genres early days when things weren't that formulaic and clearly defined as they are today. Although the subfrequent bass aspect is missing when it comes to most of the tracks one is easily able to find parallel aspects in "Left-Handed" and e.g. Distance's cold, groundbreaking early 2007 released classic album "My Demons" - which Mr. Bologna might count among his musical influences for a reason. But whilst Distance's sound aesthetics were clearly defined, well produced and set homogeneously to provide a dark'ish, mature and overall thrilling sci-fi atmosphere Summed's music lacks this mastership in sound design - yet. Especially the drum sounds and percussions seem to be fully unprocessed and so does the mixdown which is not that well-balanced as it could've been. This does not necessarily diminish the quality of Summed's music which showcases an interesting approach to build a bridge between Electronica and Bass Music but makes it less accessible and - in the long run - harder to listen to for a reason which, in this case, marks the difference between average and good for an album. But still one remains curious how Summed's musical evolution progresses throughout the next years as he might be one to watch out for in future times. Interesting.
[baze.djunkiii / www.nitestylez.de]
The mysterious, anonymous Dr. NoiseM is back with the fourth emission of his "Studio Works"-series which has been released in early March. Mainly focusing on Rhythmic Noize and distorted Rhythm Industrial this time alongside some structures that might by described as Harsh IDM with a galopping TechnoCore twist, tracks like "Noise Catapult" defo serve dancefloors jam packed with kids that are not alright with its hectic approach whilst "Payday" starts like a 70s sci-fi sound effect before thin but sharp claps are clanging all over the place whilst heavy electroid Noize provides enough bass for the sickest Breakcore / Anarchcore crowd imaginable. "Sabotage" captures sounds from a 23rd century construction site and takes these as source material to build a heavy beat skeleton banging on to the headstrong like a roto hammer. Compared to that the ringing, bubbling sounds from an alien swamp accompanied by tilting data modems found in "Syntaris Exit" seem like heavenly Ambient due to their beatlessness but still provide enough disturbing potential to puzzle 95+% of the people which wouldn't refer to this as music at all. A track like this would make a great score for extraterrestrial combat sequences whilst the killer "Unt 61" is more the total destruction kind of thing, the full on blow up after alien disaccord experienced in the quirky antecedent "Taktfrequenz". Later on we see electroid bees exploring unknown terrain - "Untitled 59" -, alien birds respond to scampering nanobugs, more Rhythm Electro as we'd put it for a track like "Vampire" before it bursts into wild, grinding madness. Furthermore we'll find heavy pure Noize pieces, total electronic mayhem and - talking the closing tune here - an orchestra of echoing modulations of fragmentary language snippets. Heavy, but good.
Scheduled for release via the Offenbach-based imprint Connaisseur Recordings
on May 30th is "Accretion", the debut album of Vegard Wolf Dyvik and Carl Christian Steenstrup produced under their conjunctional moniker Of Norway
which is surely about to please all lovers of dreamy, well cinematic (Tech)House with the nine tracks that are following up to the 7 minute Ambient landscape provided by the albums opener "Yours Is A History Of Violence". Especially the epic "Spirit Lights" featuring the remarkable vocal talents of Linnea Dale is one of the tunes which'll attract some major attention due to its decent, deep but still driving and partly ritual athmosphere that's not too far away from Beanfield's all time classic "Tides" in its seminal Carl Craig re-interpration and so does the emotionally overwhelming "Love Is Over" with a huge, vibrant, seductive bassline, modulating, Acid-infused synths and discoid guitar licks falling together as a perfect sunrise anthem for an open air season yet to come whilst the hypnotic "Last Night (I Dreamt A Placid Dream)" clearly aims at a prime time audience fallen in love with the stripped down Minimal Funk once proclaimed by musical pioneers like Steve Bug and - at the same times - pays tribute to Jaydee's ProtoTrance anthem "Plastic Dreams". With "Trampoline" featuring Malin Pattersen on vocals Of Norway
manage to get all ingredients right to produce what's meant to be a major future club hit within the scene and round off things for a quality longplay debut which will be widely praised amongst a broad spectrum of electronic music fans for a reason.
You're a fan of sterile, dark grinding SloMo Techno? You're appreciating the ultra tense, hard hitting works of acts like Pan Sonic as much as you do love the monotonously hypnotic, ever meandering first 12"es put out anonymously by Mr. Fred Bigot, now better known as Electronicat? And you do about know the deep, intelligent listening music once served by producers like Nommo Ogo on now defunct labels like Dyslexic Response? If you've been nodding your head three times in a row now and you're able to figure how an amalgamation of these influences would sound like on top of a dry, varied foundation of 4/4 bassdrums with a undeniably cold, alienating approach from the far future that never stops you're well likely to crank your soundsystem to the max after you purchased this great twelve track album that puts Raster-Noton
'esque, clearly defined sound aesthetics on the dancefloor but is also giving room for warm, floating Ambient spheres as to be found in the beatless approach of the fourth track yet untitled on the promotional CDr sitting in our CD deck right now. But actually this break is only short lived as more dry, this time acidic hypnosis emerges from the beatless realms only to introduce the next straightforward excess on concrete bunker floors with no lights and loads and loads of rusty metal on the walls served by David Letellier a.k.a. Kangding Ray on his fourth longplay effort within eight years. Sacred machine music recommended for those who like to explore life on the dark side. [baze.djunkiii / www.nitestylez.de]
Shortly after his recent artist feature on joinmusic.com
Sascha Müller drops another technoid bomb on the worlds dancefloors with his triple shot "Determination 0 / 00 / 000" that is due for release on January 30th. Three tracks of uber-massive Highspeed Techno beyond 140 bpm that are about to set floors on fire and cover punters bodies in soaking sweat whilst working out hard to deadly precise hi-hats and merciless bassdrums punching in everyone's face. Taking over crowds by storm these tunes might be defined as a new sub-genre of what's usually referred to as HardTechno - so what about Blitz(krieg) Techno for this one? [baze.djunkiii / www.nitestylez.de]
The mysterious Dr NoiseM, a producer dedicated to - guess what? - mostly Noize-driven electronics has most recently unveiled his first hate-fueled "Studio Works"-album which is, at least as far as we know, his first release that does feature dancefloor suitable beats although these dancefloors are only crowded by the headstrong and sick minded as the opening MonoAcid / TechNoize assault "Hate, Prosperty And Sex" suggests. And talking the seven more tracks to follow the audio war continues - a grinding maelstrom heavier than Alec Empire's releases put out under his Jaguar-moniker, partly more fucked up than the legendary Madonna 303 & Gizz T.V. collaboration on the one-off Mass-Turbator imprint and, as the album progresses, a journey into pure, beatless but still rhythm induced HarshNoize pulses accompanied by sick vocal samples taken of preachers speeches, TV documentaries and other angsty transmissions, short but epic breakdowns, and well-dosed volume changes that'll un-please the listeners ear for sure. Not recommended to souls anxious and disturbed.
Scheduled for December 2013 is the release of this sweet little digital four track piece spreading out over nearly 35 minutes of pretty raw and analogue Acid Funk with a feel for groove and the deeply rooted knowledge about hypnotizing repetitive effects as these tunes simply suck you in to another world where time and space work on a different level. Built from only a few but essential elements all of these tunes do not emulate the oldskool but make a clear statement of how specific structures are here to stay and how they're able to work ppls bodies and brains, even if they might have existed under the radar for a while. Especially the mindblowing "Acid Burns Untitled 3" is a storming experience that - if consumed through a huge PA on a certain loudness level - is able to reasonably alter one's perception of universal structures without one single beat. This... is a trip. [baze.djunkiii / www.nitestylez.de]