Now for something really dusty, on a tape: Could be the mother of all mid-1990s techno compilations. No time to lean back, it’s a full-on jaw-dropping trip of pulsating and pumping techno. Dating back to 1996, this compilation features landmark techno from many legendary artists and labels like 7th City, Synewave,
Miami Vice meets seismic bass in “1986 Was The Future”. Bristol resident Mensah Anderson presents a brighter side of dubstep, combining 80’s sound aesthetics, buzzing effects and tension-raising breaks. In fact the first track is even closer to electro and old school influences can’t be overheard. A catchy melody lends
Enron would never have been collapsed if only the auditors would have been as precise as Silent Servant, the artist behind untitled opening tracks on both sides. Linear and controlled techno that sticks to hypnotic repetition but refrains from glass-shattering kickdrum assaults. It belongs to the same league of ozonized
Chris Liebing’s label has arrived to the 31st release but this is the very first in my collection. B-side is clearly the downside of this 10-inch: Monoloc serves us a “Pumpkin” that does not taste at all. It’s a common-sounding and dull techno track that’s going nowhere, despite of having
Skulls at large again. Planet Core Productions’ (PCP) hardcore machinery plays with breakbeats but manages to create even darker and gloomier atmosphere than in their usual kickdrum-infected rave monsters. The tracks do not suffer under self-imposed speed limit and relative slowness makes them even harder.“Black Blood” is massive: starts with
A drop-dead serious session by Rohr and Schoenemann, and by their remixing friends. It’s music of November, sounding like the moments when you have stayed inside and hear whirlwind trying to unroof your den. And the weather forecast tells it will not be any better.The original is a creeping and
Luke Slater, techno man in business for almost 20 years, puts his remixing hands on the track called “Gmork” and does it with passion. Definitely he returns to his roots here with a solid floor stuff and we can forgive him diversions to average-sounding breaks and electro productions (“Wireless”, 1999).