Introducing SLAPFUNK RECORDS

The Discogs profile page for SlapFunk Records doesn't beat around the bush, describing them as a 'Dutch based label foccused [sic] on RAW house music'. This much is evidenced on their latest release, 'Raw Joints #3'.

Contained within four tracks by four different artists is an adept summary of the SlapFunk aesthetic - jacking, techno-fuelled deep house rhythms that maintain a heavily-European flavour. There's a noticeably Dutch / Germanic styling to all four tunes, especially the opener, 'Splittin' Atoms' by Larry De Kat. It's punchy and straight to the point, dancefloor stuff that's full of soul.

Second is Samuel Deep's 'Djoembat', a bustling jiver that continues with the narrow focus laid out in the previous track. Reversed-hats mingle erratically with frenetic percussion to ensure the mood stays deftly on point.

This carries smoothly through to 'Old Stomping Grounds' by Anil Aras. All three tracks to this point maintain a concrete intention: to get people dancing. And they do this well. What's interesting however, is the broad sample of styles collated for this release; it's a smorgasbord of European, Detroit and UKG sounds, which all combine to pack a punch.

Closing the package is 'Stackin Papers' by U Know The Drill. This one is an out-and-out whomper, like early Objekt material sprinkled over a meaty 4x4 template - vicious basslines combining with a fat, analog percussion track. This is definitely the cut of the release, but all four tracks deserve airplay.

Raw Joints #3 - VA [SlapFunk Records]

[SLPFNK006] is available now from Juno.

Featuring A MADE UP SOUND

Livity Sound is racing through 2014 in much the same way as last year, gaining a vast number of fans by releasing its very own distinctive brand of tribal, totemic house. The momentum doesn't cease, with the label's remix series presenting two remixes of Asusu's 'Velez' by none other than A Made Up Sound aka 2562.

The perfect candidate to rework 'Velez', in his first remix, the Dutchman applies the sort of growling, bassy manoeuvres we've become accustomed to, albeit smattered with an oddly-hypnotic, disconcerting chime, which dips in and out of the entire track. The whole thing's gritty and full of life, embodying the characteristic AMUS swing, but retaining the unique texture that typifies the Livity Sound vibe.

Remix number two is a darker, and more cavernous affair, which ups the tempo and intersplices reverberating tribal-drums with zippy synth stabs. The latter are turbo-charged with static energy and the whole track feels as if it's ready to leap from its source - a flurry of electrons imbued with the power of some seriously shady juju.

Velez (A Made Up Sound Remixes) - Asusu [Livity Sound]

Two stunning reworks of an excellent tune as Livity Sound moves from strength to strength. Do the right thing and support the crew at Idle Hands.

A Made Up Sound plays at Soup Kitchen in Manchester on 24th May.

Introducing NOT SO MUCH

photo credit: Dan Reid

Mosca has come a long way since bursting onto the scene with the Night Slugs crew in 2010, gradually modulating his sound away from the grimey, garage-licked flavours of those early records towards a more direct, strictly-defined house and techno style. This change was typified in the excellent ‘A Thousand Years’ Wait’ on Delsin offshoot Ann Aimee late last year, and is further displayed here in the 'No Splice No Playback' two-tracker on his new label, Not So Much.

The first track is ‘Suckle (Twenties)’, six minutes of deep, driving house that could be mistaken for early Levon Vincent work - stomping, marching percussion punches out around a whirling synth. Though the metamorphosis towards 4x4 territory is in full-effect, the vibrant catchiness of earlier releases (‘Bax’ et al.) is still on show - the melodious ring to that main synth embodying what’s quickly becoming the ‘typical’ Mosca sound.

On the flip is ‘Vinny (Flamingo)’. An even more direct offering than the former, this one is a brooding basement lurker that pumps a stifled, padded kick through ringing bells and shuffling hats. Slightly more subtle, there’s scope for this to operate as a transitionary moment from lighter sounds towards the after-hours vibe.

No Splice No Playback EP - Mosca [Not So Much]


Overall, a strong start for Not So Much - check the vinyl on April 28th and the digital on June 2nd.

Words by: Matt Woods

HH MIX #050 - ACHTERBAHN D'AMOUR

Berlin's Achterbahn D’Amour are Johannes Paluka and Jurgen Albert, aka Iron Curtis and Jool. They released their stunning debut album 'Odd Movements' last month on Acid Test, matching emotionally-tinged funk with acid basslines and tinny drums from Roland's stalwarts - the 303 and 606.

Fortunately, they also found time to deliver the fiftieth mix in our series, Achterbahn D'Amour deliver an acid-fuelled 45 minutes of machine music, old and new. No tracklist, so get digging!

HH MIX #050 - Achterbahn D'Amour [download]


Here's to the next fifty!

Interview: KESPER & SLIPSTONE RECORDS

Local record labels seem to be a dying breed of late. The financial costs too high, the returns too low. Fortunately, there are still some people wanting to make a go of it. Enter Slipstone Records. I caught up with founder Chris I'Anson and label debutant Kesper (aka Chris Pawlik) about Slipstone, the release and drunken house party agreements.

Good to talk to you guys. To start off, what was your inspiration behind starting the label?

CI: At the end of last year I was getting a bit sick of the same sounds being used and churned around. There wasn’t anything that I wanted to hear really - I was being sent promos that all sounded like each other. It all just got a bit old. I was bored of seeing the same names on the same labels. Don’t get me wrong, the tracks were good, but it wasn't anything groundbreaking. Then, I had a little trip abroad to Berlin, and I’d be lying if I said that didn’t influence me. When I was there I just heard a lot of really, really good stuff. When I came back I was hearing the same old house sounds, and I thought, I could do something new. Felt like the right sort of time too, university work was growing a bit stale, and I didn’t want to go into that straight away. So I thought, what do I love? Music, so I’m gonna do that.

Nowadays, a lot of people starting labels shy away from vinyl because of the expense and the perception of it being a dying art. How important was it that your label was going to revolve around vinyl?

CI: It’s very important. For me, playing vinyl is more fun than playing digital tunes, but it’s about the whole experience - the cover, the sleeve. Doing an arts degree, being able to do the creative side of the record, it can be my creative output; the vinyl, the cover, all the extras you’ll get with the record. I don’t know, digital is kind of throw away. I just love vinyl, and at the end of the day, you’ve got to do what you love.

Very true. I’ve been meaning to ask, what was the reasoning behind the name?

CI: I was having a lot of trouble coming up with the name really - I thought for ages. I’m an outdoorsy guy so I wanted to give it an outdoorsy feel, but the names I came up for that didn’t really work. Then I thought back to when I grew up, and near there, there’s a climbing crag called Slipstone rocks. I always loved going there and I loved the name. So I thought, let’s have that. I really like the name and so far the people I’ve talked to like it as well.

Yeah, I'm a fan. A question to both of you - Who approached who when it came to the first release?

K: I think I commented on one of Chris’ mixes on soundcloud.

CI: Yeah it was a bit weird really.

K: I don’t think we’d have found each other if I hadn’t…

CI: Yeah you commented on my mix, then I checked your tunes out. I messaged you - you had a profile picture that didn’t show who you were - but I assumed it was probably someone I knew from BPM or the Leeds scene. Turns out we hadn’t met. This was about six or seven months ago, and when I decided to start the label, I thought Chris would be right for it.

K: Yeah, you approached me at a house party.

CI: Is that where it was?

K: Yeah…I told you had I had some tunes for you.

CI: I can’t remember...

Where all the best relationships start….

CI: Haha yeah. We were just dancing in the main room, Chris was right next to me but I hadn’t realised. 

Kesper [photo credit: Bryony Eacott]

Kesper, have you always produced the same sort of music that's being put out on Slipstone?

K: Well, one of the first ever tracks I remixed - an Anton Lanski tune - kinda kicked things off for me, the structure of the track, the way it sounds. Ambience and atmosphere have always been a huge part of my productions so I wanted consistency, that floaty-ness and breath of fresh air you get with those sort of tunes. So I’ve just been sticking with that, and I feel this release is a result of the tunes I’ve made before - lots of different sub-genres, minimal techno but also the ambient side of things too. Yeah…we just did it, just happened.

I know you’re associated with the Bristol-based Banoffie Pies - how influential were they in your release?

K: Those guys have been massively inspirational. They just had this idea and they went for it, and you know, I’m kinda following on from that they’ve done, but up in Leeds. 

Are you thinking long term with Slipstone, Chris? Anything lined up, future releases?

CI: I’m kind of taking it easy at the moment. I’m not doing this to churn releases out, to get content out there. If I’m approached or I find some good stuff, I’ll get in touch and try and get something out, but at the moment I’m in no rush. I have got my eyes on a few people, but no solid plans at the moment. We want to focus on quality output, the pressing, the artwork, everything.

The artwork seems like an important part of the release - you’ve mentioned previously about getting local artists involved?

CI: Yeah, I want to get as many people involved as possible - if we can make it a community label, it’s more likely to succeed, and the easier it is for people to promote their sounds. It’s difficult in the music scene and I feel it’s important that people help each other out, so I want to do that as much as possible.

I noticed from the promo video that there seemed to be a space theme, was that deliberate? 

K: Yeah, we wanted the EP to have a concept. 

CI: A lot of people are starting labels but there isn’t a unique selling point. With this release, the sound, the image - it all works together. 

K: Yeah, we wanted to make it concrete with the first release, we felt it was important. It was in line with our own vision and other people’s feedback.

Have you got a date for release?

CI: May 4th and we’re doing the launch night on May 7th.

You must feel like it’s gone incredibly quickly. What is it...six months from conception to release?

CI: Yeah, it’s gone so fast. Rather than thinking a week in advance, at the moment I’m thinking months in advance.

K: It’s hard to stick to that plan as well. There’s always delays, issues…

Well, I commend you for it.

CI: Thanks. We’re trying to add as much value to the vinyl release as possible. Hand screen-printed artwork and a few more treats that are going to be in there…yeah. If you’re going to invest in a physical piece of media, you want to get your money’s worth. 

Appreciate you talking to me today guys. To finish, Kesper - favourite tune at the moment (and not your own)? 

K: It’s actually a free download, by these two amazing eastern european producers, Gorje Hewek & Izhevski.

And Chris, if you could sign anyone to your label, who would it be?

CI: I love the sounds and have been inspired a lot by Oliver Schories, a guy who's not got much of a rep round here compared to on the continent. He, and sounds similar, are a huge inspiration to me. But maybe not for the label, well not yet at least...

Moonwalk EP - Kesper [Slipstone]

[SLIPSTONE001] is out May 4th.

Featuring CLARO INTELECTO

Delsin represses Claro Intelecto’s stunning ‘Peace of Mind’ EP from 2003, after it was first released on now defunct British label Ai Records. The EP starts with Peace of Mind (Electrosoul), a frosty, futuristic piece that’s dripping in the melancholy of a not so distant future. Sparse keys sound out into an empty void for the first couple of minutes, before Intelecto gradually eases in some sharp synth stabs. Think Blade Runner-style cityscapes and you’ll conjure exactly the kind of sound Intelecto intends here. It’s less sci-fi and more sci-funk, with the awkward, staccato grooviness of the track being propelled through a strict, robotic sense of rhythm.

‘Tone’ starts with shuffling hats and off-beat, saturated kick drums. After the linearity of the first track, this one’s a dark and disorientating exploration of the underworld. If we’re still stuck with the Blade Runner analogy, we’re no longer floating high above the cityscape. We’ve descended deep into the murkiest corners of the dystopia, as the overdriven crunch of acid squirms and jolts its way through five minutes. The drums maintain their lack of orthodox patterning throughout and seem happy to roam free, grizzly snares and hi-hats wreak havoc throughout.

The third track, 'Contact', switches it up yet again. This time, bassline weight takes centre stage, wherein a booming, pulsing envelope of sound dominates. Icy drum work finds a sense of convention once more, kicking and clapping in uniformity, much like in the EP’s opener.

Finishing up is a more ambient, atmospheric cut, consistently mainly of swirling, eery pads and deep, throbbing synth lines, which pan and zone freely amongst an Aphex-style electric melody.

The decision from Dutch label Delsin to re-release an eleven-year-old British EP may initially seem strange, but on closer inspection it seems like a shrewd move. The record hasn’t dated one bit, far from it. Every tune sounds as chillingly futuristic as if it were produced only yesterday. Top notch production and a perfectly executed aesthetic makes this one timeless.

Peace of Mind EP - Claro Intelecto [Delsin]


There's still a few copies left at Redeye.

Featuring SPENCER PARKER REMIXES

Berliner Spencer Parker drops a couple of remixes of his most recent release, ‘The Moment Not The Memory’, allowing techno heavyweights Answer Code Request and Aaron Siegel to apply their own stylings to the three-tracker on Parker’s own Work Them Records.

Looking first at Answer Code Request's remix of 'Spacial', straight-up, no-nonsense techno that’s fed through a narrow tunnel, as swirling, tryptamine-tinged synths reverberate around a bouncy kick drum. The whole affair isn’t particularly ground-breaking, but he knows what he wants to achieve and does it well. It's a heady, big room sound, designed to deliver on a grand scale.

ACR supplements his full-length effort with an interesting 'Loop Mix'. It’s that same dubbed-up synth loop, just dripping in a little more saturated fuzz. It plays out for the majority, so would be a useful DJ tool for the adventurous amongst us. It’s practically praying for somebody to apply a beat to it, so could produce some interesting results in the right hands - a cool addition to the release.



Aaron Siegel, the man behind the impeccable FIT imprint, delivers a broken, left-field version of ‘Faster Forward’ on the flip. Classy piano hits are coupled with a grooving bassline, which propels things onto the very edge of dancefloor territory. Though far less direct than ACR's, the track isn’t short on quality and closes out an interesting release, which covers all the bases.



Coming soon at Juno.

Featuring XDB

Steffi's Dolly imprint returns with #017 and a second outing for Metrolux boss XDB. Answer Code Request provides a loopy remix of 'Ganivon' to start things off, adding crisp, high-end synths to XDB's percussive and whimsical original.

Personal favourite 'Tonik' kicks off the B-side with sliding synths and an array of groove elements. There's subtle atmosphere here too, which adds a lot on closer listening. Finally, 'Liberty' plods along without the signature percussive-led grooves of the other two originals, but with a chirpy synth line that builds throughout the track.

Ganivon EP – XDB [Dolly]


[DOLLY017] is sold out at most shops for the time being, but there appears to be a few left at Clone and a repress is already underway.

Featuring HIVER

The Italian duo Hiver, who recently contributed to our exclusive mix series, have delivered their third release, 'The Uncolored Truth'. It's their second on Vidab Records and a fine delivery of two beautiful pieces of electronica.

A-side 'Zefiro' is a restrained affair. Subdued percussion and ambient melodies marry together in a way that Hiver seem to have done so well previously. Nothing is contrived or too in your face and the atmosphere carries the listener along softly. The song breaks down to almost silence half way through, returning slowly with its kick, then its percussion, before delving back into the previous soundscape. Its uncertainty gives the track an air of melancholy, and is all the more a gem for it.

The Uncolored Truth EP – Hiver [Vidab]


On the flip is 'Right Place', which steps things up a little. Still with reams of atmosphere, the percussion is this time much more in the foreground, the drum programming and bassline working to create a solid groove without losing any of the feeling from the beginning. Soon, synth stabs phase slowly over the already laid foundations, bringing the track to a natural peak before ebbing away nicely to conclude.

HH MIX #047 - HIVER [download]


[VIDAB 10"02] is available now from Juno.

Featuring HOUNDSTOOTH

Houndstooth was something of a runaway success last year, storming out of the blocks with quick succession of releases. The aim of the game for Houndstooth is seemingly to push genuinely original music from a variety of (mostly new and up-and-coming) acts.

Saying that, one of the core reasons for the success of the label to date is not attributable to a fresh-faced newcomer - instead, it's down to an absolute veteran, Paul Woolford, who since late 2012 has found a new lease of life operating under the Special Request guise. But you already knew that, right? Woolford's foray into jungle-revivalism has been heavily documented, and rightly so.

Joining Special Request on this release is an act that we'd attribute much of Houndstooth's early success to - Akkord. With the hype Special Request's album, 'Soul Music', received, the debut self-titled LP from these Mancunians slipped under the radar slightly. The group recently produced a FACT mix and it's really worth your time if you're looking for boundary-bending electronic sounds that defy genre conventions. First time we heard the mix we were taken aback by its individuality. This latest Houndstooth release carries through with this notion, executed with a slick nonchalance I've not seen for some time.

The two tracks found here are taken from a larger seven-tracker, with the limited vinyl pressing looking to concentrate on the talents of Akkord and Special Request alone. The 'HTH vs HTH' concept pits the production processes of Houndstooth's artists against one another. Firstly, Woolford takes on Akkord's 'Destruction'; it's a grizzly, booming, fire-and-brimstone assault on the original, ice-cold amens and deadly bassline rhythms pulse and squirm their way through a drum track that's equally as heavy. What makes this effort so visceral and so potent is the way Woolford warps and bends the breakbeat framework Special Request tracks generally work within. The track isn't full-on jungle nostalgia, it's a subtle and simple nod to the era, with the result sounding both fresh and hard-hitting in equal measure.

The flipside is a role-reversal, as Akkord battle with the stems of Special Request's 'Lockjaw'. The group's razor-sharp approach to sound design is in full effect here. Clattering drums and stuttered pads are the primary elements for the first half of the track, before the entire thing opens up, making way for a more comprehensive percussionary attack that's all stainless steel and titanium. Sonic minimalism done right and done effectively, the simplistic power of Akkord's work is pretty tricky to define in words alone.

HTH vs HTH - Special Request & Akkord [Houndstooth]


Go take a listen for yourself and grab the 12" at Juno.

Introducing CLIFF LOTHAR

Cliff Lothar pushes through a second release following last year's 'White Savage', this time popping up on Skudge White. This offshoot of the Stockholm-based label has thus far, in its limited two year history, appeared intent on presenting mutated, contorted house and techno from a variety of mysterious production aliases.

Up to now, content on Skudge White has been a mixed bag. Generally operating at the lower end of comfortable in terms of BPM, the label's focus on weirdness does at times feel a tad overpowering. Though in this latest release from Lothar, they've struck all the right notes. Admittedly, this newest offering is far from traditional techno fare, but there's enough of a conventional beat contained within the four tracks to make the overall effect very powerful.

First is 'Murked Out', where dingy synths poke around a gloomy drum track. Cavernous, nocturnal and raw, the feeling is generally rather bleak. Despite that, there's a definite direction and purpose that would render it useful on the dancefloor - something that can't always be said for Skudge White twelves.

Next, 'Tangaxuan II' drops the tempo slightly and ventures further into the darkness. This one's funky enough, with sparse bleeps and bells peppered here and there, twinkling away in the shadows. 'Audiomess' carries this theme onwards (or possibly even downwards) before the final track, 'Darkhole Gloryroom', raises the tempo again; shuffling percussion looks to drive you through a tunnel and into the metaphorical light - except that somebody's forgotten the torch. It's confusing, schizophrenic and stifling, and it's the pick of the bunch. Both Lothar and Skudge White have hit the spot with this one - it's a sufficiently weird and dark journey that manages to straddle the line of 'dancefloor-friendly' perfectly.

Murked Out EP - Cliff Lothar [Skudge White]

Go cop it now at Juno.

Featuring TOM TRAGO & BOK BOK

Night Voyage, an offshoot of the Night Slugs label, resurfaced late last year to follow up 2011's excellent 'Night Voyage Toolkit EP'. Once again, Tom Trago and Bok Bok are on the buttons to showcase their unique blend of styles.

Using the label as a vehicle to release nothing but their own material, the pair have recently treated us to two releases in as many months. 'Get Me What You Want', the energetic title track from December's offering is backed with the excellent 'Hole Driller 3'; two tracks to really open the eyes of those who had perhaps forgotten what a deadly combination these producers can be.

Get Me What You Want / Hole Driller 3 [Night Voyage Tool Kit]

And dropping just last month was the label's third 12", 'Pussy Trak'. Both these cuts are as different from each other as they are from the preceding release. With the title track rooted deeply in classic Chicago house and built around a catchy vocal hook, the flip, 'Silent G Safari' is a stripped back techno joint, soaked in essence of Bok Bok's Night Slugs work but retaining enough of Tom Trago's style for it stand apart.

Pussy Trak / Silent G Safari [Night Voyage Tool Kit]

Pick up [NV002] and [NV003] from Juno.

Featuring UNTIDY

The Untidy project appeared for the first time last year, offering 4 cuts of beefy house tracks with a heavily Germanic flavour. The release was vinyl-only and came with a fair amount of mystique, whilst being very well-received by many of the scene's big hitters. So it was strange to see the project disappear almost as quickly as it surfaced.

Promo Mix - Untidy


The music contained within the first Untidy release is heavy, dubby and expertly produced - suggestions are that the project could be an alias for Jonas Kopp. Thankfully, after almost a year, Untidy returns for 002. This second attempt replicates the techno-house hybridity of the first: gritty, cavernous stompers, all likely to do some damage this year.

There's a fair amount of variety on display here - A2 is a mellow roller that uses percussion alone to generate a dark, brooding mood. However, our favourite is the B1, a prolonged piano piece that builds continuously before falling back in on itself, looping seemingly ad infinitum and drenched heavily in reverb-soaked hi-hats. The final track is the most direct of the bunch, tribal drum patterns operate beneath wavering, oscillating synth lines.

Preview and pre-order [UNTIDY002] the release here. Excitingly, it appears a release on Skudge is also on the horizon.

Featuring HAPPY SKULL

The Kelly Twins really are great DJs and selectors, reaching for a wide range of choice acid and jaunty electro cuts. It's no surprise then that their label Happy Skull has been very well received with initial releases from Systems of Desire (Kowton and Hyetal) and Adjowa (with a gritty Funkineven remix).

Rhythmic Theory haven't strayed far Bristolian labels Brstl and Idle Hands, and fit nicely with Happy Skull's machine-funk aesthetic. A-side 'Decadence of Delay' features distorted drum machines and whispering synths, whilst B-side 'Endocrine Creatures' hits harder with a resolute acid line.

Decadence of Delay – Rhythmic Theory [Happy Skull]

All three releases are available now from Juno.

Featuring SUNKLO

The Sunklo series, a project designed to showcase exclusively the production talents of Boddika and Joy Orbison, had a quiet 2013. The imprint sprung to life in 2012 with a series of powerful dancefloor weapons, released strictly on vinyl and selling out everywhere double-quick time. Tracks such as 'Mercy' and 'Dun Dun' were played ad infinitum in clubs around the globw, with the former being given a slick remix treatment by Boddika himself, and re-released on Bleek's own Nonplus.

The absence of a single release last year seems strange, but not completely surprising when considering that the pair played an incredibly packed DJ schedule, with Boddika also reinvigorating the Nonplus concept with the impressive compilation album, 'Think and Change'.

The return to Sunklo offers us two tracks, the first entitled 'More Maim'. The opener seems to lack the arresting originality that was found in tracks on the previous releases. However, it seems that the two tracks on Sunklofaw are slightly subtler affairs than their predecessors. Nevertheless, they're as booming as you'd expect, with the kick drum of 'More Maim' reverberating ceaselessly throughout proceedings. The production is still powerful and suited to those dark warehouse spaces, it's more that the means through which this sound is crafted is more restrained. Save for a strange, out of sync melody that rears its head around halfway through the track, gone are the catchy riffs to be found in previous Sunklo tracks - all that operates here is loud, stomping music that makes up in oomph for what it lacks elsewhere.

photo credit: Paul Clement

The flipside, 'In Here' delivers more of the same. Brooding, eyes-down vibes come to the fore with a staccato, eerie vocal snippet mingling with a metallic drum palette that focuses on a padded, quivering kick. I feel like the release is operating as a blueprint for the direction Boddika and Joy O are looking to push things in, a gentle relinquishment of ties to the current Swamp81 sound. The omission of 'Tricky's Team' from Sunklofaw is notable, but perhaps fitting with this excursion away from a four-to-the-floor template.

Either way, I reckon there's plenty more like 'More Maim' to come in the upcoming year, both from Sunklo and from Nonplus. Boddika announced recently the roster he was hoping to assemble for the latest Nonplus project, including the likes of Daniel Avery and drum and bass veterans Source Direct.

Sunklofaw might lack the recognisability of previous iterations, but a move towards more DJ tool material would be a welcome and interesting development for the label.

More Maim / In Here - Boddika & Joy Orbison [Sunklofaw]


[SUNKLOFAW] is available soon via Juno.

Introducing STENNY

Formed by the Zenker Brothers and Mueller in 2007, Ilian Tape is a German-based label that brings a variety of club-focused techno from artists based around the globe. The latest 12" is no exception, providing four cuts of heaviness from Turin local Stenny and constituting his second release for the imprint.

The first track doesn't look to warm up proceedings gently, jumping right into the deep end with an after-hours bomb - crushed breakbeats and a heavily saturated, pounding kick resonate among the sort of breathless and airy chords Ilian have become know for over the years. It's a great way of working dark and light shades together into one track, with the results being an oddly pleasing mixture of spacey, gliding musicality with earthy and claustrophobic grittiness.

Moving on to 'Boulders' and the formula stays very much the same. Those breakbeats remain prevalent, again they've been thoroughly smashed to pieces and glued back together with some semblance of a melody that just about holds things together. This second track is a far more frenetic and urgent affair than the opener, desperate to get deep and driving straight off the bat.

Flipside - first you'll find the peculiarly named 'Local Fields'. An apt title perhaps, as Stenny grants his drums slightly more room, letting them breathe alongside the accompanying elements. Heavily-filtered, luscious chords pan out around the entire track with the whole affair feeling a little more roomy and patient than the first two pieces.

Finishing off is a Zenker Brothers remix of the title track. The two siblings hereby make no attempt to wash out the dirt and grime of Stenny's original. That isn't to say that the finished result lacks punch, rather that it feels less cluttered and frantic than the opener. Instead, the pair apply their own methodology, streamlining the entire track and removing all but the most essential components in order to craft a subtle, grooving jam that could stomp its way effortlessly through any club you dared chuck it at.

Eternal Restriction - Stenny [Ilian Tape]

[IT022] is available now from Juno.

Introducing ONDO FUDD

The Trilogy Tapes went from strength to strength in 2013 and Will Bankhead’s label found itself occupying the higher echelons of pretty much every notable end-of-year list. The outfit’s penchant for experimental explorations in off-piste house and techno has garnered them a steady following and aided the rise of artists such as Antony Naples, MGUN and Kassem Mosse.

Looking to start the new year as they left the last, they bring an EP from new alias Ondo Fudd, who presents the ‘Coup d’Etat EP’. Now, a brief Google of the moniker doesn’t appear to offer much in explanation as to an identity. However, we’ve heard whisperings here it could be Call Super pushing the buttons. Super dropped ‘The Present Tense’ on Fabric's label Houndstooth last year and the record featured exactly the kind of churning, stuttered beats that wouldn’t have felt out of place on Trilogy Tapes. Though I wouldn’t like to speculate too much, there’s certainly enough here to make the link a sensible suggestion.

The EP starts with the title track, ‘Coup d’Etat’. From the offset there’s the typical crunching drums that often characterise Trilogy Tapes records - this then gradually combines with swirling, teetering synths that wobble amongst one another to give proceedings a faintly cosmic flavour. This is where suggesting the music is the work of Call Super makes sense, as there’s definitely enough within this opening track that appears reminiscent of the Berlin-based producer’s previous work.

Ondo Fudd - Coup d'Etat [Trilogy Tapes]

Following on is ‘Harbour’, where the sci-fi feeling of the opening track is continued. As before, there’s still the slightest hint of groove and melody here, the likes of which Trilogy Tapes’ records can at times disregard. Operating around this are sparse, tin-pan percussion elements and twinkling, bleeping stabs that ensure things are kept ice-cold.

The last track is ‘There Will Be a Time’, which of all the tunes on the EP is most classically aligned to the style Trilogy Tapes is known for. For the first three minutes all that’s really discernible are crackling, heavy drums that stomp through a broken and stuttering rhythm section. Gone is the sense of other-planet airiness and desolation - that is until half-way through, when the track opens up amongst those by-now familiar bloops and squeals that sound like R2-D2 after a bad pill. This is really where things get very interesting. Wood-block percussion taps the groove and though there’s still signs of those plodding drums. There’s none of the claustrophobic shuffling found in the first-half of the track and Fudd pulls something strangely funky out of the bag, in a really off-kilter, sci-fi mould. The ‘Coup d’Etat' EP is the kind of jam that feels really at home on the label. The record continues the label’s unspoken merit of producing interesting, often weird house rhythms that are capable of working on the dance floor, just in all the ways you wouldn’t usually expect.

The EP will be released 30th Jan - you can grab it at Juno.

Featuring LEN FAKI & MARKUS SUCKUT

Berghain mainstay Len Faki makes a production return on his own Figure Records, this time offering tracks produced alongside HH favourite Markus Suckut. Suckut has been steadily building his reputation for the past couple of years - a reputation that had its foundations laid on the aforementioned label back in 2011. Since then, he's gone from strength to strength whilst operating both as Markus Suckut and #.19.21.3.11.21.20, sticking to a straightforward formula that relies upon pounding, no-nonsense techno music that's expertly produced whilst remaining adequately rough around the edges.

'Skulls EP' sees Suckut and Faki combine to produce four articulate, swinging tracks that are as heavy as they come. What's striking about the release generally is the way both Faki and Suckut's styles compliment so favourably. The former is renowned for a squeaky-clean sound design - something which is disrupted on 'Skulls', but only to a degree.



The first track, 'Skulls 1' is perhaps the sort of effort that you'd expect from Faki. Here, the drums are worked expertly and methodically around the kind of twisted bleeps, creaks and claps that often characterise Faki's sound. Yet on 'Skulls 2', you can sense the creeping influence of Suckut. There still exists in this second offering the swing and movement found in 'Skulls 1', however the overall feel is grittier and even more pounding. This much is most clearly evident in the included dub version, which to my mind is far more basement than it is Berghain.

Skulls 1 - Skulls EP / Len Faki & Markus Suckut [Figure Germany]

What I like most about this collaboration is how Suckut has taken the gleaming, crystal-clear big-room sound of Faki (evident in 'Skulls" 1 and 2) and refined it, honing it down to its core components before sprinkling it with a healthy amount of dirt, distorting the typical flavours you may have come to expect and giving the release a far more underground feel. In 'Skulls 3', we have the best that the EP has to offer. In a way it's strange that Suckut is able to produce these tracks that are so heavily club-orientated, as he admitted himself (under a different guise) in a Hush House interview last year that he's not one for going out and partying. Addtionally, he demonstrated his deftness as a DJ with an exclusive mix - you can check that out here. But moving back to this current release, I'm loathe to utilise the 'Berghain techno' cliche so I'll just go ahead and get it out of the way, but if ever a cliche existed to describe a particular sound, this surely has to be it. Flitting, indecipherable vocals ghost their way through mayday alarm bleeps whilst a lead-weighted kick drum pounds its way throughout.

I must stress here that the sort of big-room killers I'm describing aren't so much of a bad thing, as when executed well their power is unquestionable. Often I have a hesitancy with producers who attempt to adapt their production style to larger crowds, as this somewhat ironically has the tendency to dilute the exact facets of their music that they're attempting to amplify. In the four tracks of 'Skulls', both Faki and Suckut deliver the clearest demonstration in how to straddle this line effectively - creating deadly, dancefloor-honed bombs, edged in Faki's characteristic steel and scattered with Suckut's gravelled sound.

'Skulls' is available at Juno right now.

Featuring LEGOWELT

Prolific synth magician Legowelt continues his relentless release schedule with three tracks of intergalactic goodness for new label Riverette. Straight from his sequencer-sampler workstation of choice - the Akai MPC60 – Danny Wolfers inaugurates the similarly mysterious Spanish label with this new EP.

A-side ‘Blue Tearz’ compliments its shimmers and twinkles with an ominous bassline that wouldn’t be out of place on the Drive soundtrack. Taken together with the track’s plaintive vocal snippets, the well-crafted opener finds Wolfers in an interestingly melancholic mode. Side two’s first offering, ‘Shadow Wolf’, works with different materials to form a more club-ready track combining punchier drums and room-filling synth washes. ‘Source of Menace’, befittingly, is the most sinister of the three. Initially moving in a similar vein to standout tracks on his ‘Paranormal Soul’ LP (namely 'Danger in the Air' and 'Rave Till Dawn'), the track brings in rough and ready drums that sound more like his recent efforts for Ron Morelli’s L.I.E.S. imprint.

Overall, ‘Blue Tearz’ gives further reason to speculate whether Wolfers is from this galaxy or not. Or at any rate, all the more reason to anticipate his forthcoming LP on Crème Organization.

[RVRT001] is due out very soon via Juno.

Words by: Isaac Rangaswami

Featuring MARCO BERNARDI & JOHANNES VOLK

 

Marco Bernardi and Johannes Volk have clubbed together to produce a rather nice EP for record label and club night Tief. 

‘Never on a Monday’ has sleaze written all over it. Chugging away at just over 100bpm, the synth bassline and melody work together to create a balearic italo-disco atmosphere. A moody one at that. The tight bassline and drums on 'Blue Mountains' contrast with the loose-sounding keys echoing over them. As the song progresses Bernardi adds layer upon layer of sound, with a speech sample barely audible in the background. Eery stuff. 

 Never on a Monday / Blue Mountains – Marco Bernardi [TIEF]

   

‘Glare’ drives itself along with complex and punchy drum programming, with a hammond organ supplying the hook. Volk builds it to a crescendo only to ebb it back down to its original snappy percussion. The hammond comes slowly back from its muted sound to build up again once more, delivering a subtly euphoric piece of music.

‘Humanoid Pilots’ isn’t so subtly euphoric. Although it starts off with all the sensibilities of a tribal techno roller, the tune gives way to warm synth stabs and a syncopated drum sequence that wouldn’t sound misplaced under the M25 in the early 90s (and that’s no bad thing). The song ends as it begins, making it perfect for a bit of a change during a set. Volk’s tunes are definitely the winners on this release. 

 Humanoid Pilots – Johannes Volk [TIEF]

[TIEF003] is available now from Juno.