I don’t have any idea what kind of offices does the label Delsin have, but can imagine a brass coated plate at their doorsteps saying “Detroit consulate in Amsterdam”. Also Ann Aimee, Delsin’s department for more intellectual output shares the values of the mother “company”.The newest by Delta Funktionen inclines
Repetitio est mater studiorum, repetition is the mother of learning. The introductory lesson lasts 10 minutes 46 seconds and is titled “130509”. A blunt, even too blunt loop keeps going like Du**cell bunny, only the whole experience is not as soft and furry. It’s self-confident, sterile techno that advances in
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
No cheese and chocolate from Switzerland but glowing steel and whispering elves in the first release of Hinterzimmer Records. Label founders Reto Mäder and Roger Ziegler have teamed up with turntable instrumentalist Christoph Hess (Strotter Inst.) and two other performers, to produce an album for advanced listening and darker dancefloors.
It feels like sitting in your favourite cafe and knowing the menu by heart but still enjoying familiar atmosphere and those sweet cakes. The label and the artist tell what to expect. Another strike from Strange Life Records featuring Smackos-like floating and spinning vintage synths with a certain concept, including
Estonia, land of music. Modern composer Arvo Pärt was born here, in a small town called Paide, and every five years a monumental Song Festival gathers 30,000 performers and 150,000 paying spectators for a celebration of music – in a country with less than 1.4 million people. First house and
A release from 1996 that feels like having baptised the Transmat sublabel – two fragile, extended sound excursions that hover between ambient and trance. In fact, it’s pure and deep chord-driven Detroit techno with dub motives, like we know from John Beltran or Aril Brikha. With only one difference: drum