Review: Kassem Mosse – Workshop 12

February 28, 2011 § Leave a comment

German producer Kassem Mosse pretty much owned 2010, consistently releasing records that touched on the raw, thumping end of house and techno. His remix of Commix was a particularly fine moment – indeed we here at Juno Plus crowned it our number one track of the year. His 12″ for Dial sub-label Laid was a melodic shuffling delight, while his remix of Braiden’s auspicious debut on Joy Orbison’s Doldrums imprint turned the mutant house original into a sublime piece of raw, dusky techno.

His influence should not be underestimated in the UK – he’s widely revered by dubstep and bass music producers as well as house and techno heads, and his sound appears to be what a lot of British dubstep-cum-house producers – most notably the aforementioned Joy O – are currently striving for.

[Full review at Juno Plus]

Review: Joie Noire/Blackjoy – The Jekyll EP

February 28, 2011 § Leave a comment

The first two picture disc releases from boutique San Francisco imprint Public Release featured some brilliant and oh-so New York photography, with contemporary 5 borough icons Tim Sweeney and Jacques Renault taking the musical reins. The former  – Sweeney’s only official productions to date – was a blink-and-you’ll-miss-it promo affair, while the latter featured four essential edits from the Runaway man.

For release number three we’re treated to a decidedly French affair; steak with chives, what looks like a blob of hollandaise and chips on one side of the record, an empty plate on the other; a brilliant visual concept. Indeed, so brilliant the obvious concern is that the music doesn’t live up to the visual mastery of the release. Thankfully, in the hands of Parisian producer Jerome Caron aka Gallic edit maestro Blackjoy such concerns are quashed well before the needle reaches the run out groove on Side A.

[Full review at Juno Plus]

Review: Felix Dickinson – Originals Volume 5

February 16, 2011 § Leave a comment

The tracklisting for Felix Dickinson’s instalment of the famed Originals series on Claremont 56 has been such a closely guarded secret we’d suggest even Julian Assange would’ve struggled to get his mitts on them prior to its release. The man known to the discothèque as Foolish Felix is loved in London and beyond for his eclectic DJ sets and impeccable taste, and as such there’s a wide spectrum of under-appreciated, obscure gems here. However the obvious question tumbles involuntarily from our lips: does this stand up to the past Originals compilations from Mark Seven, Sean P, Moonboots and Matthew Burgess & Jolyon Green? Previous volumes have thrown up individual gems such as the utterly brilliant “Got To Fan The Flame” by Gordon’s War (a highlight of Burgess and Green’s selection), while each of Mark Seven’s 12 picks for volume 2 offered a fascinating glimpse into the mind of the ultimate collector.

[Full story at Juno Plus]

Review: Sandwell District – Feed-Forward

January 23, 2011 § Leave a comment

Ticking all the boxes that will make fans of mystery-laden techno pant heavily – limited edition pressing, clear vinyl, no download release in sight, lovingly crafted artwork – the debut Sandwell District long player immediately enters the realm of collector’s item. The US-UK collective, comprised of Regis (Karl O’Connor), Function (Dave Sumner),  Silent Servant (Juan Mendez) and Female (Peter Sutton), have hit a raw nerve with their dark, cerebral sound that has been cultivated by the meeting of some of the genre’s most singular minds.

[Read the full review at Juno Plus]

Review: Reality Or Nothing – 1 & 2

December 27, 2010 § Leave a comment

Reality Or Nothing is the surreptitious – and now defunct – side project of UK techno dons Regis (Karl O’Connor) and Female (Peter Sutton). The duo slyly released their material through Chicago’s mysterious Housewerk Records in the late 90s, and here a piece of previously unreleased material sees the light of day, both in its original form and remixed by the current Sandwell District stable. Sprawled across the A Side here is a fantastic stepping reshape of “Reality Or Nothing” by Female, whilst the opening B-Side cut is a remix of “Kalon 08” by the Sandwell District collective, which boasts wonderfully raw drum pads that shift in and out of focus as the track progresses. The 1998 original version of the title track is included for good measure, and arguably still stands as the best of the lot – it’s moody and tough as hell, with a soft analogue crunch chugging along beneath the distinctive bleeps so loved by the Sandwell stable.

[Full review at Juno Plus]

Review: Anthony Shakir – Frictionalism 1994-2009 remixes

December 27, 2010 § Leave a comment

Kyle Hall aside, it’s hard to pick two up-and-coming producers better suited to the task of giving Anthony Shake Shakir’s off kilter Detroitisms a contemporary tweak than FaltyDL and Space Dimension Controller. In the first of two Rush Hour-curated releases, Belfast youngster SDC – fresh off a stunning EP on resurgent Belgian imprint R&S – turns his and to the seminal “Detroit State Of Mind”, first released in 1998. He slows down the tempo here, with bubbling synths and claps forming an analogue electro-disco funk melody that is becoming the SDC signature. It also contains that sharp, granite hard kick that underpinned previous tracks, most memorably “Transatlantic Landing Bay” from the Temporary Thrillz EP. It even sounds great at +8.

[Full review at Juno Plus]

Review: Various – Fünf

December 27, 2010 § Leave a comment

The fascinating (and, when you think about it, wholly appropriate) concept behind Ostgut Ton’s fifth anniversary compilation was conceived by British born, Berlin based artist Emika. In a recent interview she revealed that on a night out at the label’s affiliate club Panorama she noticed the “metal panels on the walls resonating and the motors from the lights making noise”. And so, at that moment, Fünf was born. Some discussions with Ostgut Ton label manager Nick Höppner followed, and soon after Berghain and Panorama Bar’s family of artists were given a host of field recordings taken from within the club after hours – be it humming fridges, creaking doors or unseen footsteps – and asked to make a track using these sounds as their sonic foundation. The results are stunning, with a disparate yet inexorably linked sonic tapestry that ranges from subtle soundscapes (Emika’s “Changing Room” and Marcel Dettmann’s beatless “Shelter”) to dubsteppish techno (Fiedel’s “Doors To Manual”), minimal house (Dinky’s “Twelve To Four”) and straight up bangers (Shed’s “Boom Room”); indeed the latter reminds us how good Rene Pawlowitz is at making no-nonsense, unadulterated club tackle.

[Full review at Juno Plus]

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