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]

 
 
Mutant HipHop anyone? If you love the sound of Crooklyn and acts like Dälek or Techno Animal this one'sabout to rock your bins for a while. Watch out for Fujako's full "Soul Buzz EP" to be released via Angstrom Records in August 2014.
[baze.djunkiii / www.nitestylez.de]
 
 

A monster of a harsh Rhythm Industrial tune which obviously took its title inspiration from this tweet by baze.djunkiii
[baze.djunkiii / www.nitestylez.de]

 
 
Amazing timing and even more amazing memory as this tune is fucking complex. Maximum respect!
[baze.djunkiii / www.nitestylez.de]
 
 
GhettoHouse / Chicago Basement with a discoid cut-up twist. Banger!
[baze.djunkiii / www.nitestylez.de]
 
 
Not much is known about the when and where yet but it's quite sure that the man behind projects like Techno Animal, Curse Of The Golden Vampire and The Bug is working on things heavy these days according to what these snippets are about musically.
[baze.djunkiii / www.nitestylez.de]
 
 
Forthcoming on June 20th, 2014 is the new EP release of Bob Humid on his very own Serve & Destroy imprint which features his first Drum'n'Bass-assaults officially unleashed after a thirteen years off period from uptempo breakbeats. Reminiscent of late 90s stepper qualities, coming up with highly detailed programming and a good amount of espionage thrill featured in the two tracks this techfunkin' release is quite a sweet showcase of how timeless and ever functional Drum'n'Bass can be crafted without repeating all style stereotypes over and over again. Touche.  
[baze.djunkiii / www.nitestylez.de]
 
 

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.
[baze.djunkiii / www.nitestylez.de]
 
 
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.
[baze.djunkiii / www.nitestylez.de]