Venice Pavilion EP
This latest offering from Berlin's Voitax Records is the 25th record to be released on this imprint. What better way to mark the occasion by giving the position to Farron. The artist's casual merging of styles brings home the sweet bits of electro, IDM, jungle, bass, and techno. Five tracks tumble through the ethic of upbeat and evocative electronica as each number is designed to focus on one particular direction.
It begins with a really catchy rhythm that's a straight sample from a funky drummer. Reverb warms the tone and pushes the Q of the beat in various directions. A bass then thumps in, a pulsing throb brings a slower gradient of tempo to the keepy-upy beats. Scratching sounds then wander in, followed by tones from deep and shadowy bells. Bratanic Surfers rumbles in on quick rhythms and shifting melodics driven by drum and bass like backdrops. Synthesiser pads shift in abstract formations with dragging movements as the choppy percussion slices it all up.
T9CE is next. Frantic electro beats throb and snap with bass and snare. Compressed rhythms squeeze through gated amplitudes and eventually shake off their jackets. Deep tapping bass thumps through, pushing down on the crispy underground that gives way with adequate pressure. Like the stems off snipped flowers, aspects of sound jut from the tensile rhythm and reach into blooms of sonic spectra. Fizzing and heavy bass begins to mix with thundering kick to duet on the rhythm line and allow other movements to settle then grow like crystal gardens around the firm spine.
A static infused rhythm leaps out at us for the third number. Evocative bass and snare stretch into various tonalities as electronic hiss seeps in and roughs up the multiple edges. New drums manifest, toms and snare work together to create a snappy depth which gradually evolves into bass synth. A churning sludge rises in the roiling percussion. Then a mix of up and down tones warble and swift in close-up horizontal vectors. Robotic lights move in engineered design as mechanical precision strikes and collapses each revolving part in simultaneous flow. Hollywood X High is a dreamy and spacious number, minimal with twin synthesisers and drums yet densely enriched with an artistic distortion.
Hands Of The Tall begins on a heavy tube rhythm that resonates and sinks with each reverberating pulse. Melodic bass meets up-beat drumming that kicks in after the first couple of bars. Bass led breaks shift and swerve on small turning-circles and the melodic loops begins to assert a hypnotic effect. New layers compliment each aspect, gated rhythms splurge out across steady bursts of snare and hat. A combination of various tessellated tempos link in a chain-mail of rhythm that covers the whole floor.
The EP ends on a progressive opening. Swirling static hums with atmospheric wholes which creep in droning sweeps of the ambient sky. Whistle tones break out like rays of light greeting flocks of dancing birds. A slowed down voice joins the sound-fare, other voices too are added. Slow tidal movement brings the focus of the track from the back of the mind to the front by running its fingers along the top of our heads with strange and dream-like garments. In Qsub joins huge spaces of sound with close-in and spine-tingling intimacy as telephone voices talk.
Get your copy of Venice Pavilion by Farron on Bandcamp
Visit Voitax Records online
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Anmon (Self-titled release)
Out 25th March
Based in Prague, Yuku Records are celebrating the sounds of the old free party scene. Hopefully to be resurrected in the near future, and for now confined to living rooms around the world, the techno culture has a new baby. Anmon have released their self-titled five track vinyl. Taking us into the world of bass driven techno via the medium of 160 bpm, we can expect frantic and body thumping moves in the sonic arena. This collaboration project between two French producers, DJ Saint Pierre and Ténèbre, is designed to be played out-loud in universally scalable venues. This means it's going to sound good in the car and in the field.
It begins with Piano. A warm and fizzing rhythm pounds through a compressed sonic space. Ambient notes drift in slow moving fulcra on tangents to the driving flow of pounding rhythm. Amplitude kisses the bass and snare which gradually rises to fill the now open room. Synthesiser tones dabble and wallow in the lush waters that flow in the pulse of hypnotic rhythms. The music continues to rise, like gently baking bread, a juxtaposition between ambient melodics and ravaging drums meets in a busy and swirling middle.
Next, a variant rhythm strikes a match on the gloomy corridor wall. Strange ambience drags in the retreating shadows as flickering illumination dances from each reflective surface. Rises and drops in the drumming gives an odd trajectory to the dynamic of the track. Whining noises of scraping machinery grind along ancient engineering as a fast and frantic build pounds the persistent percussion. A sludgy bass is added, it bubbles and shifts in repeating churns that allows mixing and coalescence between fractions. As Phare continues to build, huge pressures burst and evaporate as the temperature increases.
Tuvan 1 opens with a grinding scratching bass that crumbles into thudding percussion. A striated rhythm punches in on bass and rim shots as cymbal and snare rise gradually over the bars. Then a heavy new bass reels in on a thick and fast-moving line, flashing colours as it writhes on the decks. Howling currents of sound creep and curl in pocketing spaces that linger on the edges of the thundering bass. Extra fills of powerful drumming garnish the looping beats. Squealing machinery makes an appearance, it sounds like trains drawing to a halt on near-by sidings. Siren style bursts of atmospheric synthesiser continue to sweep like floodlights.
Abstract chimes and rambling rhythms unravel as Tuvan 2 begins. More mechanical friction makes semblances of sound as a strange digital bass explores the floor. There begins to be a synchronicity in the bass and rhythm as the music gets underway, yet the atmospheric sounds of strange whistles and creaks seem to be oblivious to the tempo. With a click of drum, a percussion layer is added in. A slow moving beat touches the portions with a wandering focus which grasps at the cornerstones and drags itself along. A different tone incorporates this number, the bass led elements come to the foreground while resisted drumming leaves room for more exploration.
We hit another quick pace as the final mix is reached. Character manifests through wooden taps and depth drums that rummage at high-speed through the conscious. Bass and synth strikes work in unison to bring on a driving 1-2 rhythm that keeps you moving. Clear dance potential has been focused and brought to the surface with the help of catchy injections of emotion and sound that raises the energy. Scores of drum meet fills and breaks as steady bass continues to pump and fill the room with rhythm. BR-8 pushes the limits on the timing of choice, showing that 160bpm truly is something wonderful to work with.
You can get a copy of Anmon on Bandcamp
Visit Yuku Music online
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Dark Fidelity Hi Fi
Out 19th March
Hailing in the oncoming spring with Beautiful Fragments, Dark Fidelity Hi Fi presents a stunning nine-piece production. Channelling a sense of rebirth and an amplified awareness of hope, this work was produced during the wintertime and held true the vision of what awaits. Utilising his usual spacious and contemplative sound, Dark Fidelity Hi Fi sends listeners on audible journeys into infinite sonic scope. Now released, and with the passing of the spring equinox, these hymns to progress are ready to enjoy.
Speckles of sound shard into the air as a droning hum repeats on a steady pulse. A harmony rises as new rhythms add a direction to the build. Layers of melody reveal subtle atmosphere as the bass punches holes in the taper that gently glides through the sonic machinery. A vocal sample pierces the fizzing clouds of subtle static which carries the motion of this progressive composition. Motoko shimmers with world sounds and body tingling throbs of drive.
Rotations is next, the track begins with a series of chimes that evocatively mirror a rippling bass. After a moment to build the picture, a quick rhythm flusters into the groove, filling each notch with a precise program of beats. The melody flows in a tidal magnetism and as the parts coalesce and rise then layers increase density. Aquatic shine drifts across fast—paced activity as a swirling energy dances in the shifting patterns of harmony.
A guitar-like synth begins, it plucks a chorded structure into the air before a droning bass reminiscent of a bagpipe drone begins chopping the tension. A drum kicks in, dancing rhythms are lifted by a tempo driven bass that follows the line of the pulse. Waves and pressures manifest as sound that breaks open into sections over the regulated machinery of rhythm. Mechanics meet nature as vibrant and quantised bursts of spectra decorate the timed and ignited backbone of Fragments.
Next is Ghost In The Jazzbox. Bells glisten and drip like petals in the rain as a deep and reaching bass spans and scans in motions of application. Random additions of percussion act like anchors that keep us guessing as to how this with unfold and evaporate. Heart-beat like bass mixes with the sound of heavy breathing, synthesised by clever oscillations. A strange mixture of sounds dance in gloomy yet lively clouds of potential and flavoursome composition.
With revolving sounds and shines of twinkling radiance, a droning harmony drifts over the silence. This fades to reveal a throaty bass which resonates over finger-clicks and cymbal strikes. A bass drum thumps in stepped time as new levels of percussion find nestle-lines in the flow. A synthesiser pulse matches the tempo as draughty bass passes through the corridors of percussive dimensions. Sleeping Digital features Sarmism and it drifts along like pixelated clouds in a block-filled blue sky. It's been a long time since any sprites moved through this platform, now left to the forces of nature, these procedures and templates sprout strange evolutions.
A rewind sound breaks into melody which then abruptly stops. A buzzing electronic sound builds and then branches out into a dual tone of bass and spacious mid. Whirring and clicking sounds fill broken voids as a reaching bass synthesiser dreamily garnishes the undercarriage of the track. Spirals is a slow and graceful mix, lonely notes sway in secluded glades as clusters of social harmonies fritter in the outskirts.
Lost Communications follows. It opens with ghostly whispers of synthesiser and pitch. A pulsing sonar reaches into the unknown as satellite sounds orbit in unknown albedos. Bells enter like drenching waters flowing into open wide spaces. Progress ensues and within the scintillating sonics grow gardens of lush colour and intertwined reaching life. It seems that when explored, we find a myriad of impetus and input that squabble for our primary focus. If we take our time and absorb every moment on its own merits, we are left with an enchanting framework and patterned composition.
A breathy sensual energy wanders in from the history books and graces us with a modern enigma. Cerebral incantations break down into regulated pulses of power and intent. New waves of pressure drift in through open portals that peek out through shifting frameworks of space. Your Ghost Data lingers and hangs in the gently drifting air.
The album ends on Koln (Soft Transmission). Deep and resonant sounds curl and rise from unknown cavities as energy pulses rise with knitted steps through digitally attuned vectors. Then organic elements wrap like warm winter blankets as a woodwind flow begins to dance through the ample play left by the expanse of rhythm and bass. A tingling jam unfolds through scales and repeated motions in the self-expressive jazz.
You can acquire a copy of Beautiful Fragments by Dark Fidelity Hi Fi on Bandcamp
Dark Fidelity Hi Fi is on Facebook
Find out more about Bricolage Records
In Abstracto Records
TBR: 26th March
Headlining his own record label, Luxus Varta returns with this intriguing EP. This new work follows up from releases on SolarOneMusic, Klakson, Shipwrec, Trust, Brokntoys, Intramuros, and Nocta Numerica. Emeric Di Paolo is also one half of Techmarine Bottom Feeders, which further elevates his reach in the electro and EDM scene. Unveiled just last year, In Abstractico is where Luxus Varta keeps his most reflective and representative material. This second catalogue entry for the label also contains a remix from SC-164, the latest face of Donor. W means Window and it symbolises the liberty to dream when staring out from the lock-down's civic house arrest.
It opens with Cloud Study. Breathy synthesisers bring in a sense of sky and cloud. A clappy rhythm opens out, laid-back timing gives way to bass and motions of composition that decorate and shine. Melody in the wandering bass gives a unique atmosphere to each bar while pretty motifs and runs of dancing rhythm twirl and flash in neat pockets of tune. As the music progresses, a swift break down in the drumming allows a few single elements to be isolated. These continue at varying degrees of amplitude as the rest of the mix is artfully reapplied.
Next, ghostly melodics chime in abstracted waves of magical enchantment. Popping rhythms burst like tubular slaps as shakers fill the void with subtle motion. Odd samples create splashes of sonic colour in nuanced and playful additions. A swirling undercurrent of shifting synthesiser roils behind the forward facing and primary rhythm section. Elevation carries a subconscious command to dance while telling familiar yet mysterious stories.
Now we reach Never Land. Spacious tones warble in eerie spaces as a grimy bass and snare pulse and rip with distortive intent. The synthesiser tones repeat a melody that builds with accompaniment and rhythm. Harmonious pitches rise through the mists and join the mesmerising flux of sound and sampled rhythm. Runs on bass and drum with a retro and 8 -bit feel merge with splashes of synthesiser that tingle and enliven the generative dance rhythm.
The remix of Cloud Study from SC-164 opens with a scattering of fast-paced snare that quickly evolves into a strange yet alluring tempo. Staggering beats draw repeating lines in the sand like bar-codes, spaces and timings shift and adapt until a steady pulse of cymbals provides the uniform stitching. Extra metalwork is plunged in, wooden taps, and odd motion sounds all join in to break a surface tension built of rapid fire semi-beats. Gradually, extra layers of distorted synthesiser unfold and pin their textures to the stuttered walls. A build-up of giant proportions, the track fizzes into infinity after overflowing with melodic synchronicity.
You can find out more on In Abstractico Records
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Fuelled entirely by the PUSH.lofi Collective, this dreamy and compositionally abstract album presents an escape for the senses. Reaching into the sky and beyond, this range of lo-fi inspired tracks is set to inspire a wealth of soaring sentiments and semblances.
Without further ado, it begins with smooth jazz-like piano keys which meander and weep in a watery mixture of shifting atmosphere. Rapped vocals spring forward, a human element with drive and passion provides quick verses to a snappy beat. Laid back projection mixes with energetic poetry. The chorus takes a vocal effect that bends the voice while synthesisers make way for an RnB flow. The track evolves, violin tones sweep in melodic ethnicity as the graceful rhythm sways to the human voice. This is indeed Perfect Company and the group is Ill-iteracy.
Will Spitwell is next with We All Just. This begins with a chewy bass which wobbles on a gentle array of synthesiser. Voice and piano move to greet the mix as repeating lines revolve and set the tone. New rapped vocals with duo voices lean in and begin telling their stories. We get the nuance of the keyboards and the power of the lyrics to the sound of a dirty and messed up cymbal. It pounds with a steady one two three rhythm, propped up with clean sounding kick.
Ill-iteracy is back with Just Can't See It B. It opens with vocals, a piano gracefully wanders in and splashes vivid colours in uniform punches of pigment. The vocal defines the timing, drums build and rumble like a wave which breaks openly on the shore. The music calms, vocal carries the tune. The poetry speaks for itself and cinematic composition floats effortlessly in semi-dramas that rise and spread with the flow of lyrics.
A bouncy and effervescent rhythm playfully dances on bubbles of melody. Spoken word rap begins to make waves. Short and snappy lines rhyme and fit snugly to a snare led percussion. Space-age synthesisers click on revolving platforms and mechanically engineers beats form a fabric of continual verse. Clockwatchaz by O.G. Jumpshot is a short number that washes over like a mixer to vodka.
Playful tones dab at the patchwork in uplifting melodies as another layer of sonics bend and vibrate like thread. Vocals rise, pulsed and paced, lyrics continue the laid—back human story. As the music builds, the vocal delivery shifts as the background steady flow stays true to home. Bells are added, they add new harmonies that tingle and shine from the corners. This is Kimbro featuring Speak Eazy and the track is Thank You. Homage to everyone who said good things on the way, the track smoothly adds an air of quality to the room.
Piano chords and twinkling melody finds a backdrop for spoken voice word. The drums kick in as the lyricist adapts a percussive delivery. Piano begins again and the mix builds with personal and heart-felt messages, Will Spitwell thanks and shouts out to a whole list of names he holds responsible for his success. Only The Beginning is a sign of things to come, the journey has only just begun. Smooth jazz-like electronic hip-hop sounds like a great idea.
Fallin' featuring Serenity begins with a moody piano and sultry vocals that sing like syrup into the room. Rap joins in with a sunny guitar that vibrates in chorus like fizz. Slow drum pounds at heavy bass as the snap of the snare brings a high edge to the relaxing groove. It's Ill-iteracy again and this number sits back a little further while making full use of the beautiful voice of Serenity. The lyrics take a look at how things have progressed over the past few years and the mind-blowing dreams that are coming true and falling apart.
Reversed tones roll back on the cassette reel as a sleek and effervescent rhythm breaks through. Quic and snappy lines of rap frame a punchy snare and kick driven beat. A break in the rhythm gives way to warm crackles then close. A one minute wonder from Kool Keith called Jamali 5000 perhaps pays a tribute to Outkast.
A dramatic piano opens a chord structure as Will Spitwell begin talking about his age. Wrong Side of 30 is a vibrant and synthesiser led drive through the ideas that rise when considering getting older. When we are young the rest of our life seems infinite but when he get past thirty, it's no longer so. Making peace with the idea of annihilation is not easy, but the sooner the better is good for moving on with your life. Making the right choices and taking responsibility for your own life story is the message of this almost spoken word number.
A groovy rhythm begins and laid-back drum loops push the tide forward. A scratching sound reveals slow-dance tempo as vocals begin chanting in a dreamy drama. The sentences turn to rap and attitude begins to rise from the words. Take me as I am style vocals gracefully drape the skeletal rhythm as harmonising voice grows to frame the direction. Halo & Henny featuring I.AM.EM has a catchy pulse that digs at the smooth surface in head-nodding scoops. Ill-iteracy brings us these final two numbers of the album.
Planets In Order breaks with retro synthesiser that pulses in an 80s infused melody. Drums kick in, heavy bass and slosh cymbal gives a riding tempo that pumps with easy to manoeuvre jostles. Vocals duet and grope at the meaning in neat and perfectly timed bursts of characterful rap. This laid-back lo-fi hip hop album makes use of synthesiser and drums to brings on an exploration of rap and poetry.
Listen to the album now on Spotify.
Visit Push.audio online
The Dark Wheel EP
Cultivated Electronics Records
TBR: March 22nd
Four albums across four labels and still going strong. How do they do it? Most of us dream of getting signed once. The Eminem track about only having one shot doesn't seem true any more. Was it ever? Maybe only for people like Stan who, by the way they treat others, demonstrate they don't really deserve it. It's been a long road for this Finnish duo, since the group's conception in 2009 things have been steady and musically productive. Another EP on a another label brings Cultivated Electronics into the same publisher's club as CPU, Solar One Music, Firescope, Zyntax Motorcity and Semantica.
The music opens with a bouncy bass which resonates in spongy dynamics. Other percussion instruments frame the tempo while a selection of synthesisers begin harmonising in the upper range of tone. Sonar like blips and computer chatter create a sea of wavering sonics which float above a more wholesome and rocky interior. The hot bass energy continues to pound at the persistent timing as the rhythm adapts and progresses in scope. Sorace creeps up on us, throbbing bass pushes forward a delivery of strange sounds and driving dance energy which juxtapose on awkward canvas.
Teogre starts with a snare. Dapples of synthesiser decorate the snappy rhythm as a subtle bass frames the tight-skin spring sound. A chunky bass with loose fibre twang begins to thunder in rampant time underneath the driving force. New dimensions of percussion unravel in new breaks and additions of layer. Minimal synthesisers add textures to the swagger of beats, patchwork colours of pad and voice break out in spectra and flashes of inspiration. The harmonising elements of composition rise and bring ghostly presence to the stuttering and fragmented beats.
A spacial array of snares, shakers, and wooden bass formulates a direction and flux. Laid back yet characterful, the tempo stretches out and rises in progression. New layers of percussion slide in with effortless manoeuvres as synthesiser edges sprinkle qualities of tone and rhythm across the bars. Scattered beats continue in revolving motions as shifting patterns line up in sequential tessellations. Melodic bass begins to carry the track, its forward drive rises above the drums and other harmonic effects. Ripples of distortion flow across the voice of the chattering melody which rises above the bass end and reaches into the middle. As this happens, subtle undertones of reverberating bass winds around disparate mechanics within the mix. Quidra branches out in fractal suggestions that unify with continuous beats.
The EP ends with Orrere . The track starts with a resonant bass melody that reaches down with tubular tone. New distorted beats thunder in which deepen the journey. Then, in a new direction, a dancing mixture of warbling synthesisers blip and chitter like digital birds on telegraph wires. The pylon like formation of chunky beats and spindly outcrops stand tall in giant-like statues as the sonic scaffolding looms in stretching lanes across the land.
Find music by Morphology on Bandcamp
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Science Cult Records
TBR: March 19th
This compilation album from Science Cult looks at the futurist idea of settling on new extra-solar planets. In this concept album, that displays a variety of talent from the label's roster, a 40 year interplanetary journey was instigated by an AI system named Ava. Now with the mission complete, we as listeners are given the keys to the story via the medium of manicured and experimental electronica and techno. This first release documents the findings on the first planet to be reached, Alpha 1.
With reaching and wide beats that scatter in a three-dimensional space, a sneaky rhythm breaks through. Deep bass shadows the lines of tempo in long chords that harmonise in wavery and illuminating flashes and strobe. Zapping pulses fly from the break as a fiery bassline forms in a snake of tone and tempo. Rising drum progressions meet with adjusting amplitudes and extra layers of digital composition. Budva from Liebknecht explores a topographical landscape of rising contours and smooth landing places.
Syrte is next with Velomorph. Tubular beats scamper through crevices and bends as a splashy rhythm penetrates gloomy outcrops. Twangs of light pin-point adequate inspection sites as a revolving momentum builds and crumbles in repeating bars of fizzing bass. Tonal drums lap the shores of digital sponge and crispy static in a triangulation of agenda which grasps the rhythm in strange yet persistently timed beats churn through odd filters of temporal space.
A choppy tempo rises with stabs of electronic power. Pulsing bass taps at the rising rhythm sounds as drums and percussion fold into the mixture. Gradual paced progression lifts a selection of intriguing sounds that curl and crunch through radio bursts of half accurate frequency. Through the distorted chatter a tide of bass and synthesiser harmony builds in slow and graceful churns that take hold of the framework in adhesive grips. Interface Down Cannot Connect by Binary Function brings out a spooky and alone feeling that deep-space undoubtedly inspires.
Leonardo Chevy brings us Ants Attack. A smooth and secretive rhythm breaks through rampant static which creeps like many legs. Soon, a percussion forms in neat and muffled beats which scamper along hats and bass. Synthesiser forms in bubbling rivers and spreads out with computer sounds taking the strain. Recording devices scan for data while organic-like formations wander in mechanical synchrony. The rhythm lifts with subtle additions and shifting of tone as repetitive and hypnotising bass ramps the flow through each section.
A vocal sample opens and then a flux of bass and drum flutters through an open window. More beats find footholds as synthesiser fizz and flux pounds at the bassline. A ferocious bass sticks to the walls as high-energy injections of sound zip and zap in a mix of direction. Shifting tones begin to distort the flow, abstract mixing brings out a mixing palette of sound that creates unique unstable formations within the track. Heavy beats then push through and bring back a dancing feel that washes away the confusion with persistent bass and minimal melody. Wave Of Taboo by Jesuon uses vocal samples and fiery beats to offer a disturbing yet catchy track.
A subtle build of frittering tone sparkles in illuminated glades. Cymbal begins to spell out an artistic tempo before snare and bass add a more stable pulse that stitches the whole together. The chirruping tones waver through spaces left behind as more of the soundscape is sculpted with sonic presence. Swerving and mechanical chatters begin to describe a cartographic journey into the woodland, patchworks of nature like pieces of a puzzle link in ever-increasing complexity and harmony. New and more global energies present, the flow of dynamic forces moving from hand to hand through a chain of fractal reliance and feedback. Glimmer Of Hope from Kim Cosmik lifts us up and into wondrous and picturesque landscapes.
An instant dance rhythm unveils along with smooth synth tones which hide and shine behind the flow. High-energy percussion shatters and crashes in cymbal and snare as the thump of kick consistently pins it all together. A new bass rises with a cloak of effect, the amplitude swells then breaks open like an egg thrusting a dancing energy forward and pushing the momentum through. Selfless from M.E.R.V. progresses and moves with simplistic ease as breaks and beats frame the progression of synthesiser flux and beat-laden mixing.
Itay Dailes offers Space Through Time. It begins with a sky-facing synthesiser that bounces from deep and rubbery bass. Laid-back tempo shakes and shivers in long-distance grooves that span out in light-show like pictures. Psychedelic motifs shimmer and fluoresce in cosmic flutters of potential and agenda. Graceful build-ups of flow from the percussion and the synthesiser bring a peak of sonic clarity which glides through dreamscape and memory as one.
The album ends with a slurry of sloshing synthesiser that slides across a rumble of beats and resonant bass. Eezee from Tadan opens gradually with strange shifts and dreamy interludes piercing the flow of beats. A summertime vibe spans like radiant sunshine as simple yet invigorating beats cast shadows on the road as it passes by. We're travelling, new cymbals tap into being. Their rhythm flies through the air as our grounded feet stay in time to the more paced kick-drum. Strange alien tones interpret the tempo and begin joining the chorus, an ad-lib between two cultures begins to form its own sonic language.
Find music from Science Cult on Bandcamp.
Cold New World
TBR: 19th March
Agency666 has been lauded with critical acclaim since the release of Fear Of The Unknown Remixes. This next record is a gift to all who enjoyed the previous releases and anyone else who is lucky enough to be introduced this time around. Knowing something is appreciated gives any artist an impetus to cement the talent they represent in even more intelligent and stylish productions. Cold New World is no exception to the rule, we're given a high quality run-through of beats, bass, and oddity.
It begins with Bipolar Charm. A snare and bass rhythm opens for a few select bars before a quick and pacey bass synthesiser begins to pulse at high speed. The drumming begins again with various doses of fill as another synthesiser begins to run pluck scales along a quick motif. Melody begins to emerge with harmonies and rhythmic repetitions to the sound of a thudding bass which carries the track through the thick growth. Dancing energy rises with every slight adjustment to the drum play, odd pitch shifts within the synthesiser wobble the reality. An energetic and hypnotic swirling jig unfolds with additions of encroaching layer with less than subtle bends on the dimensional space.
The next track begins with a muffled running rhythm which rumbles behind shifting platforms and motor-like atmosphere. A heavier drum with deep sonic mid range then slams in with a spiky slosh of snare and bass for Cold New World. A warbling high-end pitch begins to harmonise with the reaching bass which rests just above the sub range. A plipping synth opens with chittering bubbular pops. Sneaky fills scratch and rotate before adding another quality to the percussion layer, Tangents of tone repeat to a clash of cymbal as a deep and subconscious motion pushes the track forward. Eerie strings plunge in on the back of yet more funky beats as slippy chord tones bounce a two-step beneath.
Swooshing sound and space-age jingles sweep in darkened skies. A drum penetrates the murk with a deep vocal sample. The eerie and enchanting synthesiser loops on taps of melody that gently slide as if on a moving vessel. Deep and recurrent bass bubbles from a broiling under-layer which demonstrates a sinister and formulated pressure. This manifests in looping emotive runs on keys and with a well-placed vocal snippet. Lunges in rhythm bring tidal pliability to the drinking tones as sombre pulsations with angry undertones revel in the shadows. Sad Stalker is dreamy and carries a broken light as the only source of illumination.
A throaty voice brings the next number as a walking synthesiser greets another thumping bass. The percussion pauses for a bar or two as more bass melody establishes a groove. With extra voice and new drumming, the kick rhythm begins again. The title of the track is repeated, Hurts, along with other descriptors and exclamations. Shifting rhythmic tension reveal various drum patterns and paced progressions that compliment a repetitive and persistent warbling melody.
It ends on Planetary Assault. A build-up of progressive rhythm rises from a shady corridor then floods the room with deep bass and mysterious whispers. A scaling up-down clicked bass meets a revolving door of shakers and hats which chatter and sing like metallic birds in imaginary trees. Surges in bass replace the creeping and close-in vocal which shatters the digital with organic humanity. A stitching rhythm continues in simplistic plunges of progression that resonate with and chop at the swelling whole.
You can listen to Agency666 on Soundcloud
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Cold New World by Agency666 is available on Bandcamp
Empire Of Illusion EP
UFO Inc Records
TBR: 1st March
Scratchy and energetic techno belongs with UFO Inc. Ellen Allien's label is more than happy to include the sounds of Alien Rain. Milton Bradley was the figure behind UFO002, which seems a distance away now, and the cosmic weatherman is back with four ripping new mixes. The EP delivers an artillery of experimental electro-funk that focusses on the sound of the underground.
Empire Of Illusion begins with a heavy kick and hat combination that's soon joined by a heavy sounding suction bass. Warbling tones then add new eerie harmonies as a revolving door of spiralling energy flies upward. Notches of brief amplitude break like releasing seeds as wholesome beats pound in a relentless barrage of power. Huge bass kicks like a throbbing motor as homogenous tone roars underneath. Vocal samples find a space to project while scratching beats tap and snap in a variety of chatty loops.
The next track begins with a fire of random drumming that merges with bass and rubbery kick. Tapping wooden sounds waver on varying angles as vocal samples interject with atmospheric and interesting phonics. Rhythmic pulses on a mix of voices and synths mingle with the persistent rhythm which relentlessly plunges onward with ferocious bass. Numbers Station seems to have fractioned up the beats into workable formulae which mirror themselves across tessellations of multiple.
Another throbbing bass and hat rhythm bursts into being. This time it's simplified with a steady fill that intrigues and entices. A scampering bass riff then unravels in multiple directions. This merges and warps as new sensations to the tone break free. Fast energetic drums work a path into the framework, the music speeds up and huge swells of tempo thrash forward in waves of breaking beat energy. The synthesiser rears up and then swoops down, revealing epic synth tones that swell and harmonise in powerful doses of techno fusion. Misery Business is an intense number that drips with rhythm and dancing impetus.
The EP ends with Alien Tool. A quick bass matches warping synths that tonally dance on electronic hotplates. A repeating motif forms like a gust of wind that roars through the built-up areas. Zaps and resonant tones scatter in random directions as the kick continues to coalesce and creep along. Dripping atmosphere echoes in sunken zones that reach at us from red-shifting velocities. Will we get there? A minimal and enchanting tone rich drool through damp rhythms and progressive beats captured by brief and sporadic uplifts of melody catches us as we drift into imagination.
You can discover music by Alien Rain on Soundcloud
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Mother Of Mars
Ransom Note Records
TBR: 5th March
This debut album release from ex-The Rapture veterans Vito Roccoforte and Gabriel Andruzzi brings on a brand new name for the electronic music scene. Mother Of Mars now includes the vocals of Jaiko Suzuki, and after a long journey of post-punk, dance, kosmiche, and many other styles, this new outfit presses the right buttons on many stations while staying true to their novel and original sound.
It begins with a huge reverb and sloshing percussion sounds that echo and dissipate into seemingly endless valleys. Rattles and shakers conjure a frantic softness that ripples in time to something brewing beyond. Cymbals and drum then find a niche, tempo rises, beats and percussive phrases begin to paint a picture. A sudden rush of drum brings out a funky bass which soon becomes wrapped in zappy keyboards. Melodics rumble through Durga & Demon in foraging compositions as astral hedonistic sounds collide and evaporate with dream—like intensity.
I Hear is next which takes on the vocal talent of Jaiko Suzuki. Tempered beats thump in carriages and trains of intent as seductive close-in words chant melodic words into the merging synthesiser and drum. A building of passion and tone fathoms from deep waters that sparkle like lemonade as gutsy bass keeps time with the growing tree of lyricism. A harmonising vocal layer appears, surging the sauntering energy into new storeys that look out over patchwork gardens.
Next, a clock-like tempo begins ticking with a gentle swish of melody. Extra notes chime in electronic and fizzy motifs which knit together into a gradual formation of rhythm. Jaiko's charming voice returns with emotive dramatics. The words drift in lines of choral intrigue a blips and ticks gather like falling rain on hard street-lit surfaces. A drum-fill marks a new section and bass thunders in along with extra drums and percussion sounds. The lyrics continue as they would yet bumped up with extra compositional power.
Matteruno begins with a monotone beeping that shimmers with extra lustre. New motions emerge, melody and subtle shifting tones caress a simple and sleek tempo. Silky vocal returns with enchanting scope, the notes hang from cliffs and leap from hills as if in a dream dance. Odd sounds are effected and looped in extra outcrops of sound as more tingles reveal as mirrored feelings among deep and resonant chords.
An up-beat rhythm opens, dancing warbles of tone leap and frolic like rain bouncing from already wet ground. Revolving chimes and singing apparatus craft a spiralling energy within a neat mix of soft drum and intense high end. Shrill and emotive edges break from form like itching ribbons taking chunks out of a cloudy sky. Through The takes us into a kaleidoscope of fundamental particles and whizzing sensations of quantum ambiguity.
The album ends on Space Without A Shadow. It begins with a characterful bass rhythm thaat's framed with shattering cymbals. Melodic reaches bring out a swooping floor to descend into and as we do we're greeted by the familiar vocals that make this album so wholesome. Resonant drums scatter sounds into angular junctures while moody and velvetine pressures brush against our goosebumped skin. A new energy intervenes, the vocals speed up with powerful lines that have self-similarity. The whisking of frantic motion remains true to its form as melody and timing create a natural framework for the focus to continue upwards.
Topped with an instrumental version of the first number as an extra-special bonus, this long-reached album carries us through around 40 mins of intense and well-designed sound cartography. We're taken by the hand through landscapes and maps which shift our perceptions of what mixing breeds of electronic music can do.
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