Cosmic Bridge’s dedication to expanding the lexicon of UK dance continues. Please welcome Vromm and his hugely exciting & versatile take on D&B.
For the New Dawn Includes: the title track Om Unit certified “last tune" and future anthem "For The New Dawn feat. Agama" - and "Stargazing" - an epic 9-minute organic/electronic collaboration between Vromm & OmUnit taking ideas from jazz, ambient and fusion to expand dancefloors and shake dancers alive.
2001, the first year of the 21st century, but especially for many born in the 60's, 70's and 80's, the year that was surrounded with an aura of "the Future" and which became symbol of the new and unknown things that life has in store, the starting year of a new transgression period in both scientific, cultural and spiritual evolution. In that year Transllusion recorded music in the Dimensional Waves Productions studio of which till date two known productions saw a release: "The opening of the Cerebral Gate" and shortly after that the mysterious "L.I.F.E." album on Rephlex. More than 15 years later, an unknown wave resurfaced, washing up an incomparable emotional state of electronic depth. Music from the Future rooted in an underwater Afro-futurist realm and the grandiose cosmological truths. This time rushing over us in a much more personal, reflective and more introspective way, yet leaving behind sonic confusion. We now know who was responsible for all these futuristic recordings perfectly reflecting what the year 2001 stood for, James Stinson can be seen as one of the last few techno musicians from his generation that lived up to the high expectations of moving forward, finding the unknown and embracing the future without reliving the past. This recently discovered DAT-tape, using his Transllusion alias, is the 3rd outing of the project and, surrounded with an even brighter aureole than the previous recordings, confirms the status of its producers mastermind. No further details are known, except for the project name written on the tape, but these intimate moments in the studio tell us what the future sounds like according to James Stinson!
Only Ruins is a Bristol-based record label of sorts, pushing various deviations of electronic music for both inside and outside of a club setting.
ONRU001 is a 4 track 12” produced by the multi-faceted Syz. Having previously released on labels such as Brotherhood Sound-System and having already gained DJ support from the likes of Hodge, Lamont, Peverelist & Troy Gunner among others, this is a heavyweight and versatile EP that tip-toes between bass, breaks, electro and techno.
Mastered by Beau at Ten Eight Seven. Limited to 300 copies on vinyl + available digitally.
Don Mike Paradinas, one of the most influential and respected artist of our time unleashing archives from the golden era. Previously unreleased stuff selected by AF and Mike... so there's no need to say what you have to do. MUST.
Conforce is back on his home label with four more of his richly detailed and hugely atmospheric techno tracks. It's his first release on Delsin since latest album Autonomous back in 2017 and finds him in typical underwater techno territory. 'Celestion' kicks things off with smeared pads and rubbery, dubby drums instantly setting a hypnotic groove. The serene ambience makes it feel like you're deep down in the ocean and various deft sonic details drift by the keep things on the move. 'Vessel' is another fathom deep track with supple drums undulating on the sea bed as beams of synth light things up from above. There's melancholy in the pads that brings a rueful vibe, while 'Zephyr' is more troubled and turbulent thanks to the wet, gurgling synths and darker bass sounds. 'Aerial' rounds things out with heavyweight, rumbling kicks and ominous energy that keeps you on edge, despite the presence of beautifully celestial keys. As ever, it all makes for an absorbing trip.
From the heart of Macedonia comes Herzel with his first EP for Uncanny Valley. The four tracks point him out as an expert for creating tracks on the blurred line between Rave and darkness. If you are listening on a proper sound system, it is almost impossible not to be moved by the mighty drones of FORMS that almost feel like tectonic shifts. GLIDE runs in similar veines and brings power to the dance floor with rolling bass synths and sublime pads. A little more straightforward is GLOWWORMS with sharp drums and an acidic synth theme only to finally merge into an elegiac climax. Finally, TWO hits hard with slapping synths and a dubby bass line, a gripping yet somehow nasty track.
It’s time now for Jimi Jules’ second installment of exclusives from his recent Watergate Mix compilation and this one is heavily focused on Jules’ collaborations, remixes and edits. Starting off with his collaboration with Jules & Jesaya +4 BPM edit of heavyweights Âme’s 119 BPM, where hefty, pumping low end and slick, rigorous hats set the pace for a brutal but sexy bassline guaranteed to demolish any dance floor at any moment. Jimi Jules & Domenico Ferrari’s ‘Parkuhr’ follows up with a focus on slick, low slung minimalism as a seemingly simple groove is highlighted with playful vocals, wobbly sonic effects and a real life conversation interjected as the break. Changing gears, Jules takes a dive into the past on his remix of Egopusher’s ‘Flake’ where cinematic storytelling and flickers of Italo Disco seem to blend seamlessly creating a timeless composition that will shine for an eternity to come. For the final cut of the EP, Jimi takes us back to a place we seem to know him best on his remix of Ed Ed & Petja Virikko’s ‘Sundroina feat Jinadu’ where he creates wildly sexy cuts with his signature organic percussion palette, lavish keys and starry eyed vocals.
Derek Carr has flown back onto the radar after reissues on Ben Boe's 'For Those That Knoe' imprint and a string of newly released music through 2017 and early 2018. In true Craigie Knowes spirit, Derek has been drawn off of the beaten path to supply a wider variety of sounds than you would usually expect to hear from the Irish producer. Acid, Techno and Detroit Electro tinged sounds throughout. TIP!
Emile Facey (Plant43) has been at the forefront of electronic for more than twelve years. During that time the British producer has released on a host of seminal labels, expanding his style and sound in new directions. Although Plant43 is typically classified as a purveyor of electro, behind those driving rhythms and steely percussion a tenderness has always been present, an emotion expressed in lilting melodies and complex harmonies. It is these melodies and harmonies that come into focus on Plant43's debut ambient album. On "From Deep Streams" is a rich and textured tapestry of synth work, a soundtrack that organically unfurls from nightime woodland walks and city stargazing to mindful solitude. The eight tracks offer the listener a calming journey into stillness, an excursion through gentle audio currents and a moment to pause and take in an inspiring vista of sound. Recorded over the space of 3 months, this album gives the quiet, the subtle and the sometimes underappreciated centre stage whilst casting light on yet another side of Emile Facey's ever-evolving music.
Brainwaltzera and Analogical Force move along the same path, without questions, and always looking forward. "Bunker EP" is the new piece of the puzzle, perfect to increase the legend to infinity.
a1. Bunker
a2. Trip
b1. Nessova
b2. Rubico Acid
b3. Fx Mod Daisy Chain 5o (Provatrons Panevropi 98 Remix)
When Harold Boue aka Abstraxion invited Fantastic Man into his studio after playing together the night before he didn't knew he was planting the seed for a new project. As he recalls, it was "a day of intense sun in Marseille with not enough sleep", but the result was so great that it inspired Harold to work on new tracks around the idea of creating music to reflect his city: a bit rough, but luminous and influenced by elements of Mediterranean, African and Northern European cultures. This has translated into a heavily percussive sound, in which tribal disco grooves invoke the spirits of voodoo-techno. Three cuts driven by warmly distorted rhythms, bursts of primitive drums, rubbery synths and uplifting chants that overall feel like the first sunrays after an excursion through a dark cave: both blinding and blissful. The project's name is a tribute to the astrological sign of Harold's son, who was born at the same time as the music on the EP. It was the definitive signal he needed to convince himself it was the right time to start something new and different. And an event that for sure helps understanding the vibes that this music transmits: as pure, fresh and powerful as only a new beginning can be.
Following the exclusive heavy mix compilation that Jimi Jules knocked out for us recently, it’s time to deliver on those exclusives via two EP’s from the man himself and we kick things off with EP number one, ‘Midnight Juggernaut’ where Jules’ studio prowess is on full display with three stellar originals including a remix from the mighty Recondite. Jimi’s ‘Abandoned Soul’ original starts the EP and is equal parts moody as it is groovy as classic 303 acid fuses with Jules’ post modern drum programming resulting in a smooth, yet energetic ride into the shimmering corners of dance floor euphoria. Recondite steps up and delivers a beautiful rework of ‘Abandoned Soul’ in true Recondite fashion keeping all the original parts in tact while incorporating the lush melodic progressions he is so well known for.
Next up is the title track from the EP ‘Midnight Juggernaut’, where Jules shows his affinity for artfully crafted minimalism as remnants of early Perlon stylings merge with a more modern melodic approach where the seemingly empty spaces are filled lush, sonic textures. Rounding out the EP is ‘Othervision’ as Jules’ puts “four to the floor” to full use as one single lead line carries the tune to an incognito crescendo of emotion emanating in a well thought out and expertly crafted EP with something for everyone and every situation.
DJ Glow introduces his Populist alter ego with his first release on TRUST since his 2007 Pulsinger collab. Four fiery, dense electro cuts to feed your paranoia.
Deep space techno electro on TRUST celebrating the label's year XX. /DL/MS/ is the viennese duo behind recent Frustrated Funk outing, 'Omakuda', last year's TRUST29, 'Rogue Intent', as well as one of the most-played electro tracks of 2017 - their remix of Second Storey's 'Attack Of The Modlings'. 'Exit Ghosts' takes the /DL/MS/ sound far into haunted new orbits, trading some of its earthy rumble for more ethereal emanations. stark and sombre bass signals return, but find themselves enveloped in delicately threaded string anomalies, copious amounts of melodic ectoplasm, and spirit-like liquid funk dilutions. Vinyl 12" contains three locked grooves and ships in new TRUST XX color sleeves.
Salvador Breed and Stijn van Beek met while studying Sound Design and Music Technology in 2006. Ever since then the pair have been beavering away behind an arsenal of blinking banks in Amsterdam. The musical fruit of their friendship is Breek, a partnership that smears the boundaries of styles and sounds with festive flare and a rainbow steaked uniqueness. For their vinyl debut 'Yokai', a candy coloured cornucopia of elements are swirled and whirled. Braindance, electronica and neo-classical are festooned with dubby tones and underground grit in a unique sound of diverse textures and deep tones. Faster works, like the swooping joy of "Yokai", are countered by more contemplative "Ama." "Hang" is a whimsical dreamscape of squirming acid lines, crisp drums and angular notes that combine to produce a brilliantly bright piece. "Mu-Onna" and "Oiwa" are more abstract works that melt vocals with sweet strings before the final piano swells and ambient rains of "Burabura." A daring and dynamic vinyl debut from this eccentric duo with stunning artwork from Warren du Preez and Nick Thornton Jones.
Redshape stars in another deep tripping, sci-fi odyssey on his imprint for present 16. Opening The Gate reveals a slow but surely building burner that is classic Redshape, ripping the space-time continuum fabric apart at it's spoken word climax narrating of solar winds, cosmic ray particles and the speed of light. Heed the track's unmistakable call and take flight on an interplanetary elevator with parched, bone-dry percussion, twisting lines with propulsive bass and growls that rumble underneath, enveloping you in an air cabin of Jedi-level sound design prowess. The ride truly begins next with Voyager. It's all aboard a throbbing deep low end countered by floating, melancholic sustained chords with twinkling bleeps and fading bloops that light up like the star-studded Milky Way. Frantic hi hats and modulated percussion work keep riders on the edge of their seat through this fantasy space-age joyride at warp speed.
Rod Malmok's (aka ROD) debut-album title track receives proper reworks from Stanislav Tolkachev and The Advent & Zein. 1 for the mind & 1 for the body, this is essential stuff!
Nous'klaer welcomes Rotterdam based DJ and producer Konduku to the label with his debut called Kiran. Altin and Mavi Saat (Golden and Blue Hour) form the framework of the trip, easing in and out with a 4x4 groove. In between the opening and closing act Kiran is less straightforward - A powerful polyrhythmic hybrid of Eastern Europe sounds mixed with UK resulting in contagious grooves that will surely spark many dancefloors.
After an excellent 12inch on Rosten label SSTROM drops his first full length Otider, which is by far the most diverse offering of the project encompassing elements of different genres and putting them in woolen and dense sonic textures. Otider could be loosely translated as un-times or non-times. It positions the tracks out of specific context and rather represents them as some rediscovered artifacts relating to personal experiences of the artist. Otider slightly distances SSTROM from techno label as the compositions elegantly drift between lush transparency and thick grooves of outsider/lo-fi house as in Kronofobi or Svvaren or sensitive, yet subtly monolith and mellow techno on Damm and I Huvudet. In Modernisten we can even trace echoes of coldwave/synth aesthetics with melancholic guitars sweeping over hypnotic rhythmic patterns, while closer Sov Nu introduces something which reminds a darker form of garage music with light synthpads constantly surfacing among raw mechanical beats. All the tracks were created over a relatively long period between 2010 and 2017 by employing the process where he let his hands work automatically without interference from his head. This freedom could be felt across the release, which juggles with different musical forms so lightly and organically, but at the same time maintains a coherent vision, which illustrates the vast scope and diversity of the artist.
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