Appearances could be deceptive. A Bandcamp release with three long tracks of about 45 minutes in total and abstract photo artwork by Hannes Unt, “Polar Night Jet” looks like another journey in the fields of ambient. It’s confirmed by the first tones of the opener “Arcus Cloud”, when gleaming sound
“To The Cosmos, Let’s Go!” was an adorable piece of fortified disco by Blacknecks, a short-lived super project of Tom Russell and Al Matthews. Half a decade later, many are still incessantly waiting for the duo’s return, which doesn’t mean that our heroes are idling about – Russell with his
Jordan GCZ and Shawn Rudiman are sending love all over the world from Amsterdam and Pittsburgh respectively. Having previously done live shows together, they worked on the release in the Netherlands before the finishing touches were given on the other side of the Atlantic. As the result, joie-de-vivre compositions of
It would be pure guessing who would take responsibility for “STAUB005” as it’s credited only to unknown artists. The fifth of STAUB mini compilations is again curated by Berlin’s event series of the same name, which tends to practice blind-date nights in the sense of not releasing any advance line-ups.
A set of familiar and novel flavours is now up for grabs from ‘schmergasbord’, provided by a sublabel of Serotonin Records. Leaving the electro repertoire to the parent, Schmer is on a techno mission in the six-tracker “Serious Bidness”. We are driving off with the label’s co-founder John Selway who
Speaking of an academic in electronic music, with Cristian Vogel we have a real one. Not only because of his impressive and long-lasting career as composer, sound innovator and DJ, with plenty of evidence about lifelong learning as an artist. On top of that, in 1995 Vogel graduated from the
By sleeve art, one may think the record belongs to the same section with The Moomins or The Smurfs soundtracks, a visual diversion that signals the content being somewhat surprising too. Because when speaking of DeFeKT, another set of electro tunes would have been a reasonable expectation as the Irishman
The sound of Rotterdam may have changed over the years but Black Merlin’s new release for the city’s Pinkman imprint carries the same nasty mechanics we know from hakkuh days. Even when in “SFORMATOR 2” the BPMs are modest, compared to the Terrordrome days, its daunting dark tribal makes me