So much has been said about “Stakker Humanoid”, which was a symbol of the fledgling rave scene. I also remember from the MTV’s “Party Zone” how the video enjoyed heavy rotation, not to speak about the track’s regular appearances in numerous best-of compilations. Might be that the excessive presence of
My first contact with I-Robots was a compilation with 1980’s italo smashes like “Spacer Woman”, “Penguin’s Invasion” and others, which well substituted a painstakingly expensive mission of acquiring the originals on wax. Behind I-Robots and Opilec Music is the Italian Gianluca Pandullo whose mission is to unite sounds from different
***** Datafreq Vs. Hozerz (Paper+Sound Paplus6 – 2020) What sounds like a mystery entry from the catalogue of Definitive, Toronto’s nineties imprint with yellow labels, is actually a collaboration of Dave Rout, Kris Helstrom and Heiki Sillaste – all seasoned artists from the Canadian metropolis. When looking at the array
[Update: vinyl versions to be released in March 2020] Heiki (pronounce ‘hey-key’) Sillaste, frontman of the Canadian 1980s/1990s industrial group Digital Poodle, can look back to about 50 releases under different monikers. After two previous albums “Dub Museum” and “The North Shore” – the latter with dreamSTATE -, which delved
About three years after the group’s second EP on Athens based Lower Parts, Anopolis collective has launched a self-titled label with five new tracks rooted in the essentials of electronic music. In the Greek scene and beyond, Anopolis from Thessaloniki could be called a supergroup with members like Drum Machinee
Donato Dozzy – Filo Loves The Acid (Tresor 303 – 2018) The Italian has grabbed much-coveted ‘303’ slot in Tresor’s catalogue with an album, his first in three years after “The Loud Silence” on Further Records. And Dozzy is in a great form when being under the influence of acid’s rougher side.
Now and then I tend to spin a record from the better end of the mid-2000s minimal, from the time when the genre flooded many European countries and raised questions about electronic music’s health. But there are fond memories from this period too, one of those being “Breitling Orbiter 8”,