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12"
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DKMNTL 075EP
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If there is one thing that leaps out from Stellar OM Source's music, it is the sense of a highly active mind at work. There is an indivisible feeling that a real person is behind this dynamic flurry of tones, waves, vibrations and modulations. On I See Through You, the first full Stellar OM Source release since 2015, the spark that first LP piqued the interest of so many listeners is glowing stronger than ever. In the 2010s, Christelle Gualdi carved a name as one of the most essential live electronic musicians around, dazzling dancers and home listeners in kind with her bombastic, acidic hardware jams. Stellar OM Source steps into a comparatively more poppy and playful mode on these four tracks could also throw some. Fundamentally she says, it comes from a similar place, and ends with an enmeshed and positive outcome. "Night Alone" wastes no time in getting the listener up to speed. Is that an LFO sample running through "Night Alone"? Is this a lost Metro Area classic? Is that Stellar OM Source taking a diversion into searching Ibiza-rousing vocal for a moment, or did we imagine that in a heat haze? Where are the kicks? Oh, there they are. How many elements are buried and revived within just over five minutes? It's hard to tell. Before you know it, "Lost Codes" is up and away, keeping pulses racing. A pitter-patter of baby kicks feels like a pre-tremor before a welting electro-Italo lead crashes into play. With fizzing energy, rasping synths and a frisson of danger, fans of Unit Moebius and The Hacker will be doing somersaults of joy. "White Echoes" wastes kicks off the flip side with low gurgles descending briefly like a UFO reverse parking into the spot SOS had vacated. Soon, 303s are twisting like Chinese burns while warm chords offer a salve. The mood maintains on "Wild Palms", the only song on this record not to feature additional mixing work from Peaking Lights' dub-wise sensei Aaron Coyes.
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12"
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DKMNTL 073EP
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Synergizing their respective studio prowesses and harnessing their accomplished hardware artistry has helped establish Neon Chambers as a modern symbiosis of atmospheric, contemporary club sounds, and multi-rhythmic machine-driven sonics, the two producers have set out on the beginning of a new era of electrifying, astute sound design, and breathtaking modern electronic music. The duo's debut EP, One is a whirlwind of crushing modern sonics, that is equal parts jagged rave, progressive dub-fueled two-step and night time-ethereal IDM. Throughout all five-tracks, the producers wield a wicked awareness of state-of-the-art sound design, that makes each kick cerebral, every bass-sound an epic vibration, and every synth a futuristic cacophony of finely-tuned noise. The sounds are an amalgamation of everything that has made each artistic unique in their own right, while correspondingly helping create something new. "Apollo" is a prodigious working of melodic synthesis, with delicate, and rolling breaks, while "Cascade" moves into a more grandiose, heavenly territory, befit with trance-like, precision synthesis. "What It Takes" brings on board a more UK, post-dubstep sound, albeit one with more craft, and sonic mastership. "Your Touch" toys once more with atmospheric rolling breaks and solemn vocal samples, while "Helles", the closing track, is an excursion into more compelling, auditory realms.
Neon Chambers is the new project of UK producer Sigha, and French artist Kangding Ray. Sigha, aka techno producer James Shawm comes from a steadfast background in abstract and grounded techno, with previous works on Token Blueprint, Avian, and his own Our Circular Sound imprint. Kangding Ray, aka David Letellier, has made a career for himself with genre-breaking and experimental sonic adventures that have taken him across such era-defying labels such as Raster-Noton, and Stroboscopic Artefacts. In 2019, he also started his own imprint ara for more bespoke, avant-garde releases. The duo came together to create Neon Chambers to further extend their analogous ambitions, and create bigger, and more daring live and audiovisual performances.
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2LP
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DKMNTL 070LP
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Double LP version. Freedom Engine's A Box Full Of Magic is experimental work from Mathew Jonson. Worthwhile albums tend to be as much about the process of making them as they are about the end products themselves. One can almost hear formal, technical, even philosophical questions being asked and answered on them in order to arrive at something personally and politically new for the artist. A Box Full Of Magic is at once sprawling, cosmic, and psychedelic in the best of ways, follows in this album-making tradition. It is a record steeped in off-kilter percussive time, live recording, occasionally summer cloud-paced tempos, and lush, emotional, melodic instrumentation. "A Sunrise On the Front," the final track of the record (and a composition crushing in its beauty), encapsulates much of this: recorded live on a Rhodes, the melody gives voice to the paradoxical sense of hope even during the pathology of war. Such conceptual ambition fits perfectly well within the capacious vision of Jonson's Freedom Engine, a project whose name explores the conceptual paradox and complexity of approaching freedom through the engine of technology. In a fundamental sense, this tension between freedom and machine informs much of the album. Desiring to break out of his old ways of production, the album abounds with fresh fascinations in things like the sound of mathematical equations, quirky time signatures, and experimental phrasing through intuitive timings. There is likewise an interest in the liberating potential of deconstructing old sounds to make new ones, as Jonson applies techniques like innovative noise gating on classic drum samples to create space-age percussion. At other moments, air itself is sampled in field recordings to create unnatural percussive patterns. An encyclopedia of machines and synths are employed in the making of A Box Full Of Magic but what is perhaps new here, and in keeping with the dialectic he traces between freedom/engine, is a non-mechanistic, spontaneous impulse. While it is not a live album, it has an at-times spiritual and organic inclination despite or perhaps because of the way his panoply of gear attempts to capture dream-like tonalities that reach poetic heights on a track like "Sunrise" or morph into an almost diabolical, Lynchian dimension on "An Evil Charm (Where Is the Forest)." A Box Full Of Magic helps to expand the sonic vocabulary of contemporary dance music.
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DKMNTL 070CD
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Freedom Engine's A Box Full Of Magic is experimental work from Mathew Jonson. Worthwhile albums tend to be as much about the process of making them as they are about the end products themselves. One can almost hear formal, technical, even philosophical questions being asked and answered on them in order to arrive at something personally and politically new for the artist. A Box Full Of Magic is at once sprawling, cosmic, and psychedelic in the best of ways, follows in this album-making tradition. It is a record steeped in off-kilter percussive time, live recording, occasionally summer cloud-paced tempos, and lush, emotional, melodic instrumentation. "A Sunrise On the Front," the final track of the record (and a composition crushing in its beauty), encapsulates much of this: recorded live on a Rhodes, the melody gives voice to the paradoxical sense of hope even during the pathology of war. Such conceptual ambition fits perfectly well within the capacious vision of Jonson's Freedom Engine, a project whose name explores the conceptual paradox and complexity of approaching freedom through the engine of technology. In a fundamental sense, this tension between freedom and machine informs much of the album. Desiring to break out of his old ways of production, the album abounds with fresh fascinations in things like the sound of mathematical equations, quirky time signatures, and experimental phrasing through intuitive timings. There is likewise an interest in the liberating potential of deconstructing old sounds to make new ones, as Jonson applies techniques like innovative noise gating on classic drum samples to create space-age percussion. At other moments, air itself is sampled in field recordings to create unnatural percussive patterns. An encyclopedia of machines and synths are employed in the making of A Box Full Of Magic but what is perhaps new here, and in keeping with the dialectic he traces between freedom/engine, is a non-mechanistic, spontaneous impulse. While it is not a live album, it has an at-times spiritual and organic inclination despite or perhaps because of the way his panoply of gear attempts to capture dream-like tonalities that reach poetic heights on a track like "Sunrise" or morph into an almost diabolical, Lynchian dimension on "An Evil Charm (Where Is the Forest)." A Box Full Of Magic helps to expand the sonic vocabulary of contemporary dance music.
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2x12"
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DKMNTL 072EP
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Stump Valley now pop up on Dekmantel. The committed Berlin-based studio outfit head into new areas after their previous work on Uzuri, Off Minor, Dopeness Galore and No 'Label (that already had them jumping around styles and influences). Stylistic, enigmatic, and effortless. Stump Valley's Dekmantel debut EP is a smooth mélange of glossy soul, jazz, and serene house. Produced by the mysterious, and ultimately under-the-radar duo, the extended EP breezes through tropes of Balearic analog, warm Chicago sounds, yet remaining ultimately Italian. The duo, originally from Turin, prove their skills as true alchemists, as their forge hypnotic house and tropical flare through their array of drum machines, synths, and informed artistry derived from their deep stockpile of assorted records. Debuting they may be, but the Italian duo are no strangers to Dekmantel, having played at Dekmantel Festival, Selectors, and Lente Kabinet. Having released groove tracks across a whole spectrum of labels, Stump Valley's reputation even precedes them. Throughout the EP, their sound echoes that of Prins Thomas, Larry Heard, and other select funk-driven Italian live producers that are making waves in the current scene. It's a sound that's permanently upbeat, radiant, and filled with joy. Berlin-based vocalist and Max Graef collaborator, Wayne Snow, collaborates on vocal opener "Natural Race", creating a slow groove, and funk-driven tempo. The music then veers into equatorial territory, as the duos' uses of classic 707 and LinnDrum sounds evoke a sense of sunset grooves; the sound of Theo Parrish slowly winding through an Adriatic cocktail party. Further on and "Proletarians In Space" reflects the producers' more Detroit-like influences, with oscillating machine music. "Zoo Planet X" takes the sound further, with dubby pads, and old-school kicks and hats, that transport the Turin-based artists across the Atlantic with their out-of-time sonic aesthetic.
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2LP
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DKMNTL 063-2LP
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The second edition of Dekmantel's foray into the era-defining, trans-Atlantic, cult techno label that is Djax-Up-Beats, comes another re-issue of classic '90s cuts. The label say: "The Dutch label was responsible for releasing some of underground's most foundational dance music, mixing together Chicago and European artists alike, and acting as the launchpad for some of today's biggest producers. Featuring offerings from luminaries such as Felix Da Housecat, and Glenn Underground, alongside veterans such as Steve Poindexter, and DJ Skull, this second EP highlights the classic label's old-school's sound, while showcasing its diverse range, from dubbier, ambient moments, to wall-thumping, body crushing house force. Timeless music, repressed, and re-released for a new generation of DJs who covet the classic machine music. The second reissue EPs, offer a more introspective look at the label's earlier releases. Leading Volume 2 is Terrace's "Bewitched", to which DJ Richard has described as being the defining track of the label's beginnings with its "dreamy, Detroit-style techno mixed with the harder rave elements of Northern Europe". Glenn Underground's bass-roller "Real Space" weaves together soulful passion and Chicago prime beats, while Felix Da Housecat's "Temptation" -- originally from 1993 -- gets a well-earned re-release. China White, whose name doesn't get banded around as much as it should nowadays, see their ethereal hit "Theme from the Underground" get another opportunity to bliss out the more upbeat rave community. The energy turns darker with Frank de Groodt's The Operator, breaking the outer-most barriers of electro-techno with "The Mind Strike". Chicago and Dance Mania's Steve Poindexter turns out rolling, dance-energy bomb "Body Jam", while Mike Dearborn's deliverance of unreal, dry techno in "Deviant Behaviour" runs aplomb with classic drum-machine pulses, claps, and uncomfortable, yet punishing melodies. DJ Skull's "Don't Stop the Beat" rides the EP with gushings of hand claps, and gentle, early '90s warm techno color, that transport you back to a time of more informed, and conscious electronic musings, a feeling that embodies Djax's heyday. Founded in Eindhoven at the turn of the '90s, Djax-Up-Beats quickly earned an international reputation for being a key source of Chicago house, acid techno, and floor-filling, heavy-hitting, straight up underground 12"s. It's a sound that spawned the sonic aesthetics of today, and can be heard in the left field techno productions of the likes of Bjarki, Salon des Amateurs, and other erstwhile analog junkies."
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12"
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DKMNTL 067EP
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DJ Python, aka New York based producer Brian Piñeyro, makes his Dekmantel debut. "Lampara" snakes and twists, like a rugged '90s London broken-beat, electronic exploration, evoking nostalgic feelings a la Boards of Canada. The retro aesthetic flows through with "TÃmbrame", where the tropical reggaeton percussion floats through wafty, deep synth melodies. "Cuando" steps it up a gear, as the digital percussive rhythms go into overdrive, while "Espero" goes all Gaussian, by offering a transportive, meditative expression. "Be Si To" chops-and-cuts-and-slices across a sleuth of Warping, proto-drones. "pq cq" is a singular question mark about darkness, feeling, and trans-dimensional thinking.
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12"
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DKMNTL 068EP
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In 2018, Dekmantel got together with The Netherlands Institute for Sound and Vision's RE:VIVE initiative for the second time. Jordan GCZ, Suzanne Kraft, Parrish Smith, and Upsammy were all assigned short animated films dating back to 1921. These four scores can live apart from their films, fitting seamlessly into each artists' growing catalogs of work. But when combined, it's as if the films and music were made simultaneously with the artist and filmmaker together in the same room.
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12"
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DKMNTL 064EP
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Dekmantel welcomes the good time vibes of Canadian selector, and retro-tastic, vibe-poppin' producer Jex Opolis. "Earth Boy" pays homage to the classic electro of the early '80s, with its 123bpm rolling breaks, and throbbing synth basslines. It's as if Drexciya has a disco-baby with Spacer Woman. "Desolation" is bridled with greater depth and emotion, with Italo-pomp and a certain rhythms digi-tales flare. Braver souls may embrace the vocal mix when it comes to playing out, with its compassionate overtones and soft celled-bassline.
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12"
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DKMNTL 062EP
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The Dutch retrogressive, analog synth machine obsessives and tape fanatics Betonkust & Palmbomen II have teamed up together once more for a new EP. An immediate follow up to their debut LP Center Parcs (DKMNTL 058LP, 2018), the new EP pays fictional homage to a now deceased famous TV star, who instead on working on the screen, took up a new direction in making music. Once more replete with esoteric experimentalism, analog jams, drums machines, synths, and a healthy dose of acid basslines, the production duo advance upon their aesthetic with a new extended EP of nostalgic, melancholic electro.
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2LP
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DKMNTL 063LP
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Dekmantel announce the reissue of some of the most era-defining trans-Atlantic, techno cuts from the early '90s, thanks to cult label Djax-Up-Beats. The Dutch label -- founded by Saskia Slegers, aka Miss Djax -- was responsible for releasing some of underground's most archetypal underground dance music, mixing together Chicago and European artists alike, and acting as the launch pad for some of today's biggest producers. This timeless music is being reissued on vinyl for the very first time. Founded in Eindhoven at the turn of the '90s, Djax-Up-Beats quickly earned an international reputation for being a reputable source of Chicago house, acid techno, and floor-filling, heavy-hitting, straight up, underground 12-inches. This first reissue volume sublimely blends esoteric, ambient sounds, with staunchly fierce, and energetic electronic rhythms. Throughout the eight-tracks you can hear the sounds of sequencers, drum machines, and motor-city basslines. It defined the beginning of an era that never went away. Whether you're a collector, or DJ looking to add to your left-field techno collection, the reissue of Djax-Up-Beats best records is not one to pass up. Features Ismistik, Glenn Underground, Felix Da Housecat, Planet Gong, Terrace, Hexagone, Random XS, and K'Alexi Shelby.
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12"
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DKMNTL 060EP
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Californian electronic pop duo Peaking Lights make a splash on Dekmantel with Sea Of Sand, the band's first release in 2018. Sea Of Sand feels like a mini-LP, with a diverse mix of experimental beats, and extended electronic, pop dubs. The record kicks off with the quirky, upbeat pop track "Blind Corner", followed by slower Italo-like "Hypnotized". There's a wavey-krautrock sound on "Shift Your Mind", a glowing romanticism on "Read Your Mind", and a celestial ambience embedded through "Noise Of Life".
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12"
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DKMNTL UFO5-EP
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UK DJ and producer Rohan Walder, aka Randomer, furthers his exploration into deep, spatial techno on Dekmantel's UFO imprint. "Van Pelt" skips on the off-beat at just over 130bmp, and textured with kicks that sound like two robust, metal dumpsters being hit together. "Shadow Harp" is quintessential techno, with yet more thudding, dark-kicks layered against a syncopated plucked and jarring bass. "Dissolve" drips and oozes with a sunken undercurrent of dystopic-melancholy, driving in ruptured reverb with a tribal percussive foundation. "Slicing" dares to take things a little further, as the rounded-hollow kicks punctuate against more metallic, and analog sounds.
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12"
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DKMNTL UFO7-EP
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Parrish Smith makes his Dekmantel debut on the label's sister-techno imprint, UFO, with a blend of avant-garde electronics and industrial. With title track "Sex, Suicide & Speed Metal", Parrish Smith channels his inner Alan Vega, with some screaming guitars and 65bpm machine-crunching body beats. "Mute" jacks up the feeling of tempo, rife with energetic drum machines, pulsing synths, and retro-fitted vocals. "Fall Into Sin" sees him explore the world of deconstructed, gothic-pop yet further while "SKINS" delves further into the mechanical, with a grinding bass that bleeds through the track's entirety.
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12"
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DKMNTL 059EP
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Sirocco is the second EP by Bruxas, the psychedelic, beat-driven house group consisting of Jacco Gardner and Nic Mauskovic, featuring Jungle By Night's percussionist Tienson Smeets. "Sirocco" washes over with dreamy, tribal, synth-wave, flowing and ebbing in mixed colors of a psychedelic haze. Remixed for some secret island hideaway orchestrated by DJ Harvey, "Sirocco (Club Version)" builds on the resplendent melodies and driving percussion of the original. "Hermes" meanwhile drives along at a casual 100bpm, with a cumbia-styled Casio line, and a jaunty Latin-groove. "Maria's Holiday" has another up-beat, Casio-styled groove, with bongo-beat rumblings and a disco rhythm.
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2LP
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DKMNTL 058LP
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Recorded in an aging holiday park during off-season, Center Parcs is the debut LP by Dutch artists Betonkust and Palmbomen II; a conceptual, musical-tristesse full of lo-fi harmony, and fanciful, psychedelic-colored modulations, with an undercurrent of saturated, outsider-house beats, all recorded to tape. With a shared passion for experimental music, and gnarled Dutch electro, the duo has crafted an LP of esoteric-electronic-pop, reflective of the time the two spent holed-up in isolation in Center Parcs. Palmbomen II, aka Kai Hugo, is the electronic-focused, alter-ego of Palmbomen. Existing in his secondary iteration, Palmbomen II gained notoriety for his alternative, warped style, having released two LPs, both receiving critical acclaim. Originally from the Netherlands and now living in Los Angeles, his musical relationship with Betonkust stretches back several years, leading to a unique live, and studio-working symbiosis. Meanwhile Betonkust -- hailing from the westerly Dutch shores -- has been notching up kudos points with his Detroit-like analog sound. Having found their studio-synchronicity, the duo has already notched up a couple of select EP releases, plus a featured track on Dekmantel's ten-year anniversary series. "It's a weird environment, but we like it," Palmbomen II says about Center Parcs, where the album was recorded. Originally built in the '70s, Center Parcs De Eemhof in Zeewolde provides a pseudo-tropical environment for vacationing families, with an aging, ersatz jungle; its faux decor gradually fading to grey. Recorded during the winter, the two Dutch men took-up home in one the park's chalets with select hardware -- predominately synths and drum machines -- and recorded all of their progress to tape. Being the only occupants in the melancholic, somber settings, the duo made an LP that was reflective of the unpretentious surroundings. Everything on Center Parcs was recorded on hardware, in the moment; "real jams" as the guys describe them. No computers. It was through this in-the-present-process that led to the recondite, lo-fi shoegaze record, reflective of their shared influences -- from the likes of I-F. through to Cocteau Twins. Opener "24x33", has a reverberated VHS aesthetic; "De Rust Die Je Zocht' ("The Peace You Were Looking For") sounds like an angelic score to a forgotten family game show; "Nintendo Pantera" a solemn, upbeat Detroit-retro-fitted-vapor ware melody. The album is a follow up to the Center Parcs EP -- the producer's debut cassette release on Canadian label 1080p in 2016.
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2LP
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SLCTRS 005LP
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Lena Willikens is the kind of artist who's only capable of following one path: her own. In many ways, she's the archetypal selector, an unpredictable DJ who often eschews all notions of genre in favor of what she describes as "different temperatures, different time zones, different moods and a healthy portion of chaos." Although her methods have certainly proven effective on the dancefloor, Willikens also refuses to be bound by its traditional limitations; That willingness to buck convention also extends to this compilation, as the German DJ and celebrated Salon des Amateurs resident has elected to stock her contribution to the Selectors series with a surprising number of previously unreleased tracks. "I've been playing most of these songs for a while now," she explains. "I benefit from my friends and colleagues who constantly send me their unreleased music. Now I want to give something back by sharing these tracks with everybody." Nevertheless, those looking for vintage gems won't be disappointed, as Willikens has also included a handful of oddball favorites from her record bag. At the same time, she's made a point to avoid notably rare and expensive tunes. "There are already enough passionate people out there doing a great job digging and reissuing," she says. Instead, her curatorial instincts have taken her in a much more conceptual direction, which she describes as a "little trip through the dunes." She adds, "It might be challenging to walk or dance on the sand, so perhaps it's more comfortable to lay down and glide along without having a certain destination in mind." Features JASSS, Garland, Sandoz, Vromb, Le Matin, Anatolian Weapons, Parrish Smith, Varoshi Fame, Chekov, towLie, Sysex, Borusiade, and DoseZero.
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2LP
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DKMNTL 056LP
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Bergen is the next, and natural step in the expanding career of Dutch producer Tom Trago. The acclaimed producer behind Voyage Direct (RH 025CD, 2010) will release his fourth LP, with the label and crew he's built a close relationship with over the past ten years, Dekmantel. Bergen is an LP that connects his legacy, family, and commitment to dance music in one resplendent package. Having relocated from Amsterdam, Tom Trago set up his new studio in the coastal town of Bergen, located in the northern Netherlands. Recorded in his family house, with the sea at one side, and the countryside to the other, the resultant record is a crafted piece of art, full of space, and the classic machine-driven, house music aesthetic that has come to represent Trago's sound. The spacey-passively-paced LP intro "Bergen" was the first to be picked up by Dekmantel's Casper Tielrooij. Yet it was the electro-orientated "Zeeweg" that became the template for the rest of the record. The b-boy electro vibe, with its melodramatic synth melody was influenced by the road that leads to his scenic retreat -- with slow, steady curves, and a gentle, upward trajectory, "Zeeweg" and its album namesake, twist and turn in fluid synchronicity. "The Creation Of Lalibela" plays on this world music vibe, with ethereal and fun key patterns, influenced by the work of Mulatu Astatke. "Always Be With You" is one of the LP's standout tracks, epitomizing the new album's country settings, and featuring his girlfriend on vocals; it swings at a steady, up-beat pace, rich with harmony, color, and melody. Elsewhere on the album, Trago sticks to his dancefloor roots, "Faith Belongs To Us' is molded in a Chicago-to- Amsterdam house style, while album closer "Working Machines" plays with resonance and atmospherics, creating a moody, pulsing yet stylish rhythm. Having been raised in a musically-driven, and open-spirited household in which the producer grew up learning the piano, it didn't take long for Tom Trago to be indoctrinated into the new school of Amsterdam producers. Bergen's analog tools lend to its organic sound, one honed and crafted by its natural surroundings, and matured approach by one of the Netherland's most accomplished producers.
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12"
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DKMNTL 10-010-1
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As part of the ten-year anniversary Dekmantel presents the final record in a ten-part-EP series. Split into two parts, the final instalment is a reissue of Tony Allen's "Asiko (In A Silent Mix)" originally released in 1999 and remixes by Motor City Drum Ensemble and Ricardo Villalobos. The first part features a grandiose 29-minute Ricardo Villalobos version of the Afrobeat master's cut. A true collaboration of giants.
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12"
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DKMNTL 10-010-2
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Dekmantel presents the final record in a ten-part-EP series. Split into two parts, the final instalment is a reissue of Tony Allen's "Asiko (In A Silent Mix)" originally released in 1999 and remixes by Motor City Drum Ensemble and Ricardo Villalobos. The last record in the series sees MCDE delivering a trademark track that will send dancefloors on fire worldwide. Part two of the EP features the Motor City Drum Ensemble remix, and the original "In A Silent Mix" version from 1999; a track out of its time when released on Allen's sole record Black Voices (COMET 082LP).
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12"
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DKMNTL 054EP
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Belfast-producer Space Dimension Controller, aka Jack Hamill, lands his debut release on Dekmantel with the three-track EP Gaining Time. Clocking in at over 35-minutes, the EP phases between cosmic kaleidoscopic house, and serene, epic ambient -- Hamill's Dekmantel debut is closer to that of an album, than your average set of club tracks. "Everything Is Better Now" is a techno-futurist journey both progressive and fluid. "NRG Intersect" is a beautiful 15-minute ambient transmission from outer space, played out with synth chords, across strummed melodies, and a tape deck hitch. "(Still) Returning" takes the ambient coding and minimizes it yet further.
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12"
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DKMNTL 053EP
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Dekmantel regular Matrixxman returns with the third, and final installment in the Sector series, Part III: Polyphony. "Initiation" resonates with the grandiosity, and harsh claustrophobia of early Underground Resistance. "Access Granted" drives hard with pulsing effects, with a dystopic, rhythmic cacophony of euphony. "Desert Planet" plays around with a differing tempo, imagining a more fantastical vision of music, echoing back to earlier Plastikman productions, using a vast sonic spectrum to conjure up a color palette of alien imagery. "Horizon" rounds things off; a track that builds on minimalism with a progressive composition, allowing the polyphonics to drive the track.
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12"
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DKMNTL 055EP
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The Detroit legend returns to Dekmantel to deliver the final installment in a trilogy of EP releases that initially began back in February 2016. Now based in Alabama, the Detroit-techno producer is returning to his roots -- this is classic Robert Hood, operating in new, and uncharted ways. Kicking off with "Red Machine", where again parallels can be drawn between the days of Minimal Nation, and Internal Empire, the sound is sparse and brutal, representing a challenged future. The B side "Transform" provides a composition of stripped, down electro, while taking in the 606 style, and adding additional, textural depth.
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CD
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SLCTRS 004CD
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The Dekmantel Selectors compilation series is set to continue with a highly-anticipated edition curated by Joy Orbison. First announced in 2015 when the Selectors project was unveiled, the fourth compilation in the series finds the singular UK talent curating a sort of tribute to his home country and its rich musical history. Like many of us, Joy Orbison (aka Peter O'Grady) is a product of his environment. Based in London, he's keenly aware of the UK's unique musical landscape and the role it's played in shaping his own artistic vision. Growing up, the sounds of garage, jungle, and dubstep all made an impression on him, but O'Grady knows that the roots of this music go back much further. "Soundsystem culture is a thread that runs through almost everything here," he says. "It's had a huge effect on me, sometimes without me even knowing it." In keeping with previous Selectors compilations, O'Grady's contribution to the series is not a mix CD, but a collection of hand-picked tracks from his own archives. Touching on everything from shuffling garage and loopy techno to booming jungle and a number of distinctly British hybrids, it's a diverse collection to be sure, but O'Grady prefers to focus on what ties these tracks together. "We're a lot more focused on BPM and genre these days," he says, "but I can honestly say that didn't really cross my mind while I was compiling this. In my mind, all these tracks have a lot in common." "What I do is a direct result of this music and I'm indebted to the sociological factors that brought it to life," explains O'Grady. "The UK at its best is a celebration of diverse cultures intertwining and creating beautiful results. Hopefully this collection of music can document a piece of that. Now more than ever, it seems important to acknowledge and celebrate this." Features James Massiah, Toyin Agbetu, Rosaline Joy, R Solution, Beatrice Dillon, Bitstream, Oblivion, L.E. Bass, Stylistic, Santos Rodriguez, JP Buckle, and Klein.
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2LP
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SLCTRS 004LP
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The Dekmantel Selectors compilation series is set to continue with a highly-anticipated edition curated by Joy Orbison. First announced in 2015 when the Selectors project was unveiled, the fourth compilation in the series finds the singular UK talent curating a sort of tribute to his home country and its rich musical history. Like many of us, Joy Orbison (aka Peter O'Grady) is a product of his environment. Based in London, he's keenly aware of the UK's unique musical landscape and the role it's played in shaping his own artistic vision. Growing up, the sounds of garage, jungle, and dubstep all made an impression on him, but O'Grady knows that the roots of this music go back much further. "Soundsystem culture is a thread that runs through almost everything here," he says. "It's had a huge effect on me, sometimes without me even knowing it." In keeping with previous Selectors compilations, O'Grady's contribution to the series is not a mix CD, but a collection of hand-picked tracks from his own archives. Touching on everything from shuffling garage and loopy techno to booming jungle and a number of distinctly British hybrids, it's a diverse collection to be sure, but O'Grady prefers to focus on what ties these tracks together. "We're a lot more focused on BPM and genre these days," he says, "but I can honestly say that didn't really cross my mind while I was compiling this. In my mind, all these tracks have a lot in common." "What I do is a direct result of this music and I'm indebted to the sociological factors that brought it to life," explains O'Grady. "The UK at its best is a celebration of diverse cultures intertwining and creating beautiful results. Hopefully this collection of music can document a piece of that. Now more than ever, it seems important to acknowledge and celebrate this." Features James Massiah, Toyin Agbetu, Rosaline Joy, R Solution, Beatrice Dillon, Bitstream, Oblivion, L.E. Bass, Stylistic, Santos Rodriguez, JP Buckle, and Klein.
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