DDMS will soon deliver the second part of their “TinTin” remixes.
DDMS is the combination of four producers: Deadbeat, DeWalta, Mike Shannon, and The Mole. The four artists go to the studio to record “monster multitrack jams” and then take the files and make four different mixes of them.
Previously this combination has appeared on Haunt Records releasing a two-part series in 2013 to critical acclaim. Last year, a two-track package of “Tin Tin” remixes by DeWalta and Mike Shannon arrived, and now part two has landed, this time featuring reworks from The Mole and Deadbeat.
Tracklisting
01. Tin Tin (Deadbeat’s Rocket Dub) 02. Tin Tin (The Mole’s Who Is Pimp Lapointe Mix)
Tin Tin’s’ Rocket Part 2 EP is out now via Cynosure, with Deadbeat’s “Rocket Dub” streaming in full below.
Record labels play a major though often underestimated role in defining our musical tastes. The growth of the internet, and that of Soundcloud and Spotify, has made access to music far easier than it ever has been; with the click of a finger, we can discover a seemingly unlimited pool of digital material—excellent, bad, and just about everything in between. Correspondingly, labels, with the music that they release and push through their channels, act as filters—sifting through this wealth of music, selecting the good stuff, and then releasing it as they see fit. In a world of endless choices, labels make our selection just that little bit manageable.
That being said, a label’s job is naturally challenging. They must dig deep into this bottomless pit of music and then find a voice within it—curating what they find to develop their own brand image. Those who do it well will become shorthand for a specific subgenre—a symbol, if you like, of minimal house or experimental jazz, as examples. Reflecting on this, which labels have had a strong 2017? Which labels have combined strong releases with a clearly defined aesthetic. Here is a list of labels that did just that in 2017.
Was there a label this year that could lay claim to a strike rate like that of Warp? With the release of Brian Eno‘s stunning composition “Reflection” on January 1, Warp kicked off one of its best years yet, unleashing a torrid release schedule that included, among others, a mind-expanding remix album of Gonasufi‘s Callus, Patten‘s rippling Requiem EP, Clark‘s latest album, Death Peak, the widely acclaimed Good Time score by Oneohtrix Point Never, Mount Kimbie‘s Love What Survives album—which also landed in our top releases of the year—a new LP from Bibio, and Kelela‘s R&B opus Take Me Apart. For a label founded in 1989, it’s remarkable that year after year they stay so far ahead of the curve.
Dekmantel
There wouldn’t be many fans of electronic music that would argue with Dekmantel‘s inclusion on this list. Celebrating 10 years in existence, the Dutch powerhouse kicked off the year with a special ten-part EP series, inviting “producers who are close to their hearts, have been with them since day one or made a big musical impact on the crew” to contribute. This included contributions from Vakula, Roman Flügel, Call Super, Legowelt, Joey Anderson, Ricardo Villalobos, Burnt Friedman, Donato Dozzy, Juju & Jordash, Palms Trax, Motor City Drum Ensemble, Joy Orbison, and Huerco S, among others. That series alone would be enough to warrant the status as one of the labels of the year, but with solo outings from Robert Hood, Awanto 3, Fatima Yamaha, Bufiman, and Dekmantel Selectors compilations from Joy Orbison, Marcel Dettmann, and Young Marco, Dekmantel’s 2017 must be chalked up as a year not to be forgotten anytime soon and a true indication that they are one of the best labels in the game.
Release schedules don’t get too much busier than that of Bill Kouligas’ PAN imprint. Besides April’s V/A compilation, a 16-track celebration of ambient experimentation, the Berlin-based imprint has shared five (yes, that’s right!) full-length LPs, from Konrad Sprenger, Pan Daijing, STILL, Errorsmith, and M.E.S.H. respectively. Almost all of these came up in advanced discussions when picking our releases of the year. With its broken rhythms and vocals spanning rudeboy MCing to ethereal ladies and squirly samples, only STILL’s I made the final selection, but M.E.S.H.’s mesmerizing sonic environments, Errorsmith’s sophisticated return, and Konrad Sprenger’s rhythmic patterns were memorable moments of cornerstones of a tremendous year for PAN! Add to that the 16 time-stretching compilation works and another high-quality release, and you understand our enthusiasm for adding PAN to this list. Years don’t come too much better.
Since last year’s under-the-radar R&B hit “Brown Sugar” by NxxxxxS and Girls Do it Better, Orfèvre—meaning goldsmith—have in 2017 put out a steady stream of tracks from artists Yawil, Reef, Elotomi, and Rami.B. A typical comment on their YouTube channel reads in French “heavy as usual.” It’s an exciting label to follow because there’s a palpable sense of growth and solidarity in the improving videos and loyal fans and because its music represents the current underground of French hip-hop.
Run by DJ Haus since the end of last year, E-Beamz has all year put out 12”s with house tracks that reference the various currently popular styles like lo-fi and trap. And fitting with the popularity of DJs cutting from low- to high-tempos throughout a set, tunes like DJ Swagger’s “Holly Tool” are handily arranged for transitioning between, for example, hip-hop and house. The label’s graphics are on point with post-internet references and tongue-in-cheek aesthetics like that old screensaver with multicolored pipes. And just check out the artist names: DJ Boring, DJ Longdick, Textasy, DJ Seinfeld, DJ Windows XP, DJ Relationship Goals, and DJ Playstation, amongst others.
The most amazing thing about Ninja Tune isn’t that it’s been around for 27 years, though that kind of longevity is pretty remarkable on its own. No, what’s truly mind-blowing is that the label has managed to span nearly three decades while balancing precariously on the cutting edge. We could go easily write a lengthy essay on how head honchos Matt Black and Jonathan More have broadened the label’s range far, far beyond the leftfield-breaks aesthetic of its early days, or about how Ninja Tune somehow seems to have more musically inquisitive energy than ever—but instead, let’s just list a small sampling of the artists who have released music on Ninja Tune and its sub-labels over the past 12 months. There’s Bonobo, Zomby, Bicep, Dauwd, Nathan Fake, Umfang, Forest Swords, Visionist, Jordan Rakei, Machinedrum, Actress, Hype Williams, Helena Hauff, Coldcut (a.k.a Black and More) x On-U Sound, the Bug vs. Earth, Thundercat, Lapalux…and on and on and on.
When it began back in 2010, Kiran Sande’s Blackest Ever Black traded in works from the deepest darkest recesses of electronic music’s underground. That’s not to say that in the more recent years it has drastically changed its tact, but as the years have gone by, Sande has gradually cast his net wider, catching outliers on the fringes of genres such as pop and R&B. This year, Sande presented his most wide-reaching release schedule yet, including Carla Dal Forno‘s post-punk-influenced pop outings, Naaahhh’s hard-to-define EP Themes, an exercise in haunting pop from Jabu, dubby brilliance from F Ingers, Pessimist’s self-titled bass masterclass, and, last but certainly not least, the much anticipated return of Regis. Blackest Ever Black continues to impress with every passing year.
Gerd Janson’s label might belong on the list even if it had one release all year, specifically Running Back Mastermix. Not only does that compilation make clear the strength of the label’s 15-years-and-running discography—it’s brimming with super-solid, often classic-leaning house that jacks and grooves in all the right places—but it was mixed by none other than clubland pioneer Tony Humphries, a longtime hero of Janson’s. Add to that a string of great EPs from the likes of KiNK, Henrik Schwarz, Janson’s Tuff City Kids partner Phillip Lauer, Fort Romeau, and Telephones, among other notables, and it adds up to one of clubland’s most reliable repositories for dance-floor fun.
The Delusions of Grandeur imprint has long operated in the shadow of it higher-profile parent label, Freerange–not surprising, as Freerange has 20-plus years of releases to its name, and DoG has less than half that. But the label has spent its time wisely, molding itself into a sanctuary for a summery, dreamland-disco version of dance music that’s immensely satisfying and almost reflexively enjoyable. An excellent album from Session Victim, Listen to Your Heart, was the label’s 2017 centerpiece, but there were also gems from Ron Basejam and Toby Tobias. Best of all was the No Loitering EP from Son of Sound (a.k.a. NYC clubland soldier Henry Maldonado), which was simply one of the most groovesome house 12″s of the year.
When I first heard tracks like “Take Care Ya Bidness” from Doomshop Records crew members DJ Akoza and Baker, I had no idea whether I was listening to new or vintage trap, dug up by the magic of the internet from ’90s Memphis. There’s tantalizingly little concrete information available. What there is though is an extensive back catalogue to 2014 with mixtapes from the above artists, and producers and rappers like MC Holocaust, Occvlt, Lil Kaine, DJJT, DJ Agony, and Mista Frost. They’re mainly in California, but also Tennesse, Alabama, and Texas. There’s also DJ Sacred repping from Ukraine. With their gothic and carefully trashy visuals, lo-fi sonics, and consistently high standard, Doomshop is one of the key players in the underground post-trap scene.
Bob Bhamra’s West Norwood Cassette Library label was on strong form in 2017, uncovering promising producers and opening up new routes in forward-thinking house, techno, and bass music. The label compilation We Are Family Vol.3 contained cuts from established leftfield stars, such as the slamming beats and bubbling acid of Kevin McPhee’s “Short Techno” and the thrilling what-do-you-call-it electro bass of J. Tijn’s “Decimated #30.” Even more exciting though, was rising artist Caldera’s 134% OK EP, with the techno-funk stomp of “Weirdpeoplescavedance,” replete with its Detroit stabs and “work” samples, a particular highlight. Similarly, fresh name Ténèbre supplied the deadly “Jungle Frontier”: a futuristic break beast with sub bass to die for.
DJ Semtek’s long-running, always pioneering imprint went into overdrive this year, with a stunning succession of releases from both new names and established dons. Differ-Ent (DJ Bone’s alter ego) created the off-world techno and metallic electro of the It’s Good to Be Differ-Ent LP; Karen Gwyer delivered her best work yet in the lysergic analogue techno of Rembo; rRoxymore dropped the IDM-infused house and electronics of Thoughts of an Introvert Part 1; and Tr One dropped the sparkling electro disco (and beyond) of A Month Has Passed. In 2017, Don’t Be Afraid was fearless in championing original leftfield music.
MFM has managed to become a sort of blueprint for how a successful reissue label should be run. And for good reasons: the graphics are modern and unobtrusive; the pressings and sound are consistently excellent. The selections run so deep it’s unlikely you’ve heard of the original, but the label’s reputation assures you each one is worth checking out. They don’t do limited runs, so if you love one of the records you won’t be disappointed it’s sold out or overpriced second hand. And very importantly the music is licensed. The reissues market can get pretty shady so it’s great to see a label doing it well.
Fabric’s in-house label, A&Red with unparalleled passion by Rob Booth, had its best year ever. Call Super’s Arpo masterfully managed to combine jazz and electronics in a novel way, and Special Request’s monstrous Belief System shoehorned spiky electro, Kevlar coated jungle and brooding soundtrack compositions into its epic runtime. Second Storey, too, released the excellent IDM, electro and bass music hybrid of Lucid Locations; Guy Andrews fashioned new shapes from post-rock on Tåke; and Akkord returned with the breakbeat reduction of “RCVR”. Few could come close.
Two releases from Ron Morelli‘s L.I.E.S. imprint were included among of best releases of 2017, namely Broken English Club‘s The English Beach and Tzusing‘s 東方不敗. The former saw Oliver Ho deliver 12 tracks varying from club techno cuts to highly experimental and often theatrical industrial music; while the latter saw Tzusing blend gut-churning industrial grooves with twisted melodies— confirmation that the Malaysian-born, Taipei-based artists sits at the forefront of techno’s new wave. The Brooklyn-founded label is deserving of its place on this list for these year-defining releases alone.
San Francisco label Dark Entries hit well over 50 releases this year. Now, for most labels, this would almost certainly allude to a dip in quality, but look closely and you’ll see that nearly every new release and re-issue was up there with some of the most exciting music of the year. There was early psychedelic synth experiments sitting next to heads down techno and forgotten, pioneering post-punk. To give you a digestible wrap-up, the label dropped outings from Helena Hauff, Bézier, Bill Converse, Severed Heads, Lena Platonos, Codek, Hypnobeat, The Hacker, and a sprawling retrospective of Patrick Cowley, among many many others. Sit down, start digging, and you’ll have your mind blown.
Few could deny Nic Tasker’s London-based label a spot on this list. It’s been another year of quality rather than quantity, with releases from Jules Venturini, Coby Sey, Lanark Artefax, Minor Science, and Avalon Emerson—who returned to the label last year’s Whities 006 EP. But this once again has proven to be a fruitful strategy, and credit must be given to the Tasker for his intelligent selections. Lanark Artefax and Minor Science’s abstract, bass-driven, contributions were particularly memorable.
Lee Gamble’s UIQ has only had nine releases since 2015 but it’s one of those labels that has such a strong and clear identity—both musical and visual—that you know they aren’t just pumping out records for money, power, and fame. This project is driven by love. The standard is reliably high and challenging, no quick gratification here. The listener is rewarded with attention, good audio reproduction, and repeated listening. From last year’s peak discovery of the Lanark Artefax EP (which I listen to all the way through at different speeds depending on mood) to this year’s N1L Ikea Zen EP, with sound design that is virtuosic and alive, and tracks ranging from four-four to wildly abstract. UIQ is at the avant-garde of digital dance music.
Words from Ben Murphy, Dan Cole, Anton Lang, Bruce Tantum, and XLR8R Staff.
RINSED label arm The Umbrella is back with a new EP from Material Witness, a new project from The Umbrella co-founder Robert Picciotto.
Picciotto has already amassed a catalog of groovy cuts under his Blacky II moniker, but with a new set of sounds presenting themselves, Picciotto decided to launch a new moniker with the Point of Light EP. The cuts on the EP range from meditative drones to heads-down acid bangers, both suited to home listening and club play.
In support of the release, Picciotto has offered up a raw and heavy, acid-drenched club workout that will undoubtedly coat dancefloors in pools of sweat, available to grab via WeTransfer below.
In the latest video from Point Blank, DJ Ravine and Saytek show you the basics of starting a track in Ableton live.
In the video, Saytek focuses on tools that are freely available to demonstrate how to start a track. Using edited sample packs, he begins with the kick, before moving to hi-hats and claps from the built-in core instruments in Ableton, as well as the bassline. From there he completes his basic loop with a synth lead and shows some basic elements of creating tension by dropping sections in and out of the track.
To celebrate the holiday season, Point Blank is currently offering 25% off all online courses and 30% off Los Angeles courses until December 31.
You can watch the video in full via the player above, with more on Point Blank here.
The Brighton born and bred label collective, SmallPrint Recordings, have dropped their new compilation Vol. 3.
SmallPrint Recordings was conceived in 2014 when all three members were studying music production in their final year at university. Speaking on the inception of the passion project, the trio remarked, “Growing up in Brighton with the majority of our friends being into music, allowed us to collaborate together and bounce ideas off of each other. This also gave us an insight into quite a few different styles”. It was this branching out into other genres that gave the group the springboard for launching SmallPrint—an electronic music label, with a rambunctious twist.
Sharing their first real material on Soundcloud, the team quickly gained the momentum to put out their first volume of recordings—a 20-track offering composed by producers the trio met online, friends of the group, and fellow producers based in and around Brighton. Since then, various producers have distributed multiple EPs via the label, and subsequently, the group has had the creative opportunity to share more music by the day. Now they return with their stellar 3rd volume of recordings,
We’re told that the new volume continues to deliver on SmallPrint’s vision: to showcase a whole world of influences and artistic outlooks through experimental and nuance electronic music. In support of the release, the label has offered up Seanote & Ill Chill‘s “Super Food” cut.
Seanote is a producer from California. His style is jazz-influenced, mainly 140/dubstep based. He’s released two EPs with SmallPrint and has been on every compilation. Ill Chill is a rapper from California. His style is often darker/more experimental than usual hip-hop.
The Brighton born and bred label collective, SmallPrint Recordings, have dropped their new compilation Vol. 3.
SmallPrint Recordings was conceived in 2014 when all three members were studying music production in their final year at university. Speaking on the inception of the passion project, the trio remarked, “Growing up in Brighton with the majority of our friends being into music, allowed us to collaborate together and bounce ideas off of each other. This also gave us an insight into quite a few different styles”. It was this branching out into other genres that gave the group the springboard for launching SmallPrint—an electronic music label, with a rambunctious twist.
Sharing their first real material on Soundcloud, the team quickly gained the momentum to put out their first volume of recordings—a 20-track offering composed by producers the trio met online, friends of the group, and fellow producers based in and around Brighton. Since then, various producers have distributed multiple EPs via the label, and subsequently, the group has had the creative opportunity to share more music by the day. Now they return with their stellar 3rd volume of recordings,
We’re told that the new volume continues to deliver on SmallPrint’s vision: to showcase a whole world of influences and artistic outlooks through experimental and nuance electronic music. In support of the release, the label has offered up Seanote & Ill Chill‘s “Super Food” cut.
Seanote is a producer from California. His style is jazz-influenced, mainly 140/dubstep based. He’s released two EPs with SmallPrint and has been on every compilation. Ill Chill is a rapper from California. His style is often darker/more experimental than usual hip-hop.
With our Best Releases of the year now out of the way, we move onto our best tracks.
Discussion and debate on this list started several weeks ago when an internal message posted the question: what are your favorite tracks of 2017? There was no shortage of submissions—ranging from downbeat and drum & bass to house and even a little bit of hip-hop. As explained last year, music taste music taste is a subjective matter; and what resonates with you at any given moment may not be the flavor of the month with friends, family—or, indeed, anyone else. It’s simply not possible to please everyone. Nonetheless, the line has been drawn and below is a list of some of our favorite tracks from the past 12 months — those records that really stuck in our minds out of all those that crossed our paths. It’s likely that some people will have heard of very few of these tracks; while some may even have heard of them all. Enjoy as you will.
Alessandro Cortini “Vincere” [The Point Of Departure Recording Company]
“Vincere” is the second single taken from Alessandro Cortini‘s latest album, AVANTI, released via The Point of Departure Recording Company. The album used an archive of home videos made by Cortini’s grandfather as a starting point, fusing the release with romanticised memories. Undoubtedly the best example of this is “Vincere,” an evocative piece of music built from poignant melodies and intricately textured atmospheres.
Hymns “Water Acid” [Salt Mines]
For his long-awaited return to Salt Mines, Australian producer Hymns delivered a debut 12” of off-kilter rhythms and glistening pads. Opener “Water Acid” is an eerie amalgamation of aquatic electro and tense emotion—a particularly special cut.
Yaron Gershovsky “Disco Baby” Disco Baby (Floating Points & Red Greg Edit [Melodies International]
The story behind this record is interesting. It’s believed that Melodies members Floating Points and DJ Red Greg discovered some original ’70s obscurities and described to create their own edits—turning them into modern-day dancefloor disco gems. Of these new recordings, they cut only five copies for themselves and a few DJ friends of theirs. One such cut was “You’re A Melody,” one of 10 tracks off a record available to license for film, radio, television, and other media. It was first released in 1979 as a three-minute up-tempo library recording.
Due to popular demand, this rework eventually saw release via Melodies International—becoming the label’s sixth release. It arrived as a 7-inch, with the original version and the edit on the flip. It is a true disco anthem.
Kilchhofer‘s “Zahnen” arrived on Acosta, a split EP with Hainbach. The five-minute cut is an example of deliciously arranged electronics, invoking feelings of “tribal house and ambient tropes,” wrote Inverted Audio. It features subtle drums, brisk claps, and reverse-built strings that captivate the listener from the very start. A beautiful production.
Kamasi Washington “Truth” [Young Turks]
Kamasi Washington‘s “Truth,” a 14-minute epic of stunning musicianship, is one of the most affecting tracks we heard this year—no doubt in part to the equally thought-provoking and touching video accompaniment directed by AG Rojas. The skipping, nimble percussion, swinging bass, and heart-tugging saxophone lines ebb and flow throughout, causing more than a few goosebump moments and deep introspection.
Subjoi “Love Shy” [Pulse Msc]
Though Subjoi’s version of the Tuff Jam/Kristine Blond UKG classic has been circulating on the internet since 2016, it was only released as a 12” this October—after pushbacks that had fans getting restless. With over a million views, and plays at innumerable parties, I’ve spent many happy moments this year dancing, cycling, or walking to this tune. It’s got the warm kicks, cruising synths, and perfect sampling of the timeless vocal hook that make it a lo-fi house classic.
Equinoxx “Congo Get Slap (Mark Ernestus Remix)” [DDS]
The Basic Channel dub techno genius tackled Jamaica’s most exciting export for years on this peach of a collaboration. The original was already great, with its heavenly chords and leftfield dancehall rhythm, but Ernestus added his own synth touches and melodic samples to create something even more sublime.
Minor Science “Volumes” [Whities]
It was a vintage year for Whities, and Minor Science’s spectacular Whities 012 sets a benchmark for the new wave of bass music emanating from Europe right now. Glistening synth features intricately decorate a pumping low end, coagulating into a dreamy, glitched-out haze.
Emo Kid “Futuristic Gqom” [Gqom Oh!]
The gqom (pronounced gome) sound has been greatly popularised beyond its Durban roots by the Gqom Oh! label out of the UK. Emo Kid’s Gqomtera EP, which came out this October, showcases the state of the genre a couple of years on from its initial travel outside its hometown, and “Futuristic Gqom” is a burning manifestation of ghetto-minded dance music-making. The tension and propulsion created by the drums and worrisome synths captivates dancers in a sort of thrusting stepping trance, and the way the drops create energy by going against expectation by actually breaking the track down is a masterful piece of dancefloor psychology.
DK/SK “Hammond Blue” [Melody As Truth]
Jonny Nash’s Melody As Truth invited label companion Suzanne Kraft to get collaborative with Parisian producer D.K earlier this year. Recorded in the French capital at the start of the year, this six-track mini-LP is a serene excursion, of which “Hammong Blue” is the standout track. It’s a masterclass in quality ambiance.
A Sagittariun “Vanishing Point” (Hypercolour)
In which cosmic techno and ambient wizard Nick Harris (a.k.a. A Sagittariun) fashioned his finest 1980s synth patches and went full-on John Carpenter/Stranger Things over a compelling and club tooled rhythm, with a dreamy break-laden dropdown to die for. How could that combination fail? It worked so well, you wondered why no one else had done it yet.
Out of Leicester in the UK, Mahalia is one of the batch of R&B singers exploding right now. She wrote “Sober” at just 18 after a breakup, and the original version has a throwback soulful beat by Maths Time Joy and Mahalia’s touching honest lyrics. It’s a hit. But it’s the live studio version on the YouTube channel COLORS that really lights up and makes it clear that Mahalia’s a true talent to follow. Check her fly all-red ’90s outfit, her natural gestures, and just listen to her voice let go towards the end. A well-deserved three million views.
Keita Sano is part of Japan’s new wave of music producers. The Okayama resident has been weaving his way through house, techno and electronica releases displaying an affinity to old-school processes and vintage gear. His June EP on Paragram featured “Want,” a dubbed out, reverberating, techno track. The beauty is in the simplicity.
Objekt “Theme From Q” [Objekt]
There weren’t many tracks this year that embodied a pure unbridled rave spirit like Objekt‘s “Theme From Q.” With its earworm melody, sing-a-long vocal chops, and wall-shaking breakbeats, “Theme From Q” decimated every dancefloor it was played on—while sending dancers into hysteria in the process.
Kuniyuki “Acid Air” [Optimo Trax]
Originally released in Japan in 2015 on DJ Emma’s Nitelist Music as part of its Acid EP series, only a small handful of copies of this 12” made it to Europe. JD Twitch was lucky to score a copy and both tracks became firm favorites in his sets and much asked about. Twitch felt this music deserved a wider audience so was kindly granted permission to reissue it on Optimo Trax. Hiroshi Watanabe’s “Infinity Sign” is a hypno-ecstatic acid piano-tingling monolith; while A2, Kuniyuki’s “Acid Air” is a slow building organic percussive acid freak
PAINT “Beast Mode” [20/20 LDN]
PAINT—a new duo made up of Tsuruda and Huxley Anne—dropped Exodus back in August on 20/20 LDN. Filled with tense, hard-to-define grooves, Exodus looked to fight against both genre and gender constructs, “placing a man and a woman on equal footing within a technical environment where women are scarcely represented,” as the duo explain. From the album, “Beast Mode” stood out for its haunting atmospheric intro and mind-bending rhythmic structures. The track’s flow and groove are impeccable and with its bass-heavy beats, it’s a sure-fire dancefloor weapon.
This is the first ever release from Meditation Tunnel, the new electronic music project from former The Rapture frontman, Luke Jenner. His rework of Joakim‘s “Samurai” is a slow-burner, and was inspired by a chance meeting in Joakim’s Brooklyn studio after which they began working together on Luke’s upcoming solo material. It landed in April as part of Joakim’s Remixes EP.
Mori Ra “Stormy Weather” [Berceuse Heroique]
Japan’s Masaki Morita’s (better known as Mori Ra) “Stormy Weather” arrived in January as part of The Brasserie Heroique Edits Part 3. It’s a stunning seven-minute piece of music, featuring high-pitched synth movements, saxophone, and a wealth of bizarre noises. It’s both groovy and melodic at times, all the while being deeply cerebral. A quite special track that you just don’t want to end.
S.A.M. “Out of Touch” [Delaphine]
S.A.M. (real name Samuel André Madsen) returned to his Delpahine imprint earlier this year with the 12” version of “Out Of Touch,” a spacy, hypnotic track with plenty of groove. It landed ahead of the release of his debut album Dream State Of A Bellmaker as part of a hand-stamped vinyl EP alongside “Pour Aisha.”
“Pulse Mode” is the track from a tremendous EP. The release, featuring four playful minimal cuts from Berliner Gene Arthur, caused quite a stir: released in the twilight of the European summer, the first press sold out almost instantly, with some soon to be found exchanging hands for considerably more than the original asking fee. Several represses followed, yet demand remained high; it felt like everyone in these circles was on the lookout for a copy. It’s hard to pick a standout track because they’re all high quality—but “Pulse Mode,” with its bendy chords and smooth vibe, is the pick of a very good bunch.
West Norwood Cassette Library “(Every Time You Touch Me) I Get Hype” [Sneaker Social Club]
Bob Bhamra—or West Norwood Cassette Library—is a skilled producer and DJ whose excursions through hardcore breakbeats, twisted house and disco on his own WNCL and other labels have been some of the most thrilling releases to emerge from London in the last decade. “(Every Time You Touch Me) I Get Hype” from his Hardcore Librarianism was pure fire: a chopped up, new school hardcore piece with touches of classic hip-hop, magpie sample snippets and Sheffield bleep techno bass in its make up.
Daphni “Tin” [Jialong]
First surfacing on his Fabriclive 93 mix, and in embryonic form in his DJ sets, “Tin” was the tune that Dan Snaith’s been building up to for years, as his Caribou and Daphni monikers continue to coalesce. With its flying hats and swung 4/4 garage beat, “Tin” had the heft to move a dancefloor, yet its spine-shivering R&B vocal and transcendent synths had an emotional power which few other producers can get close to.
Luca Lozano, Mr. Ho ” F.U.B.U.” [Klasse Wrecks]
Klasse Wrecks label boss’ Luca Lozano and Mr. Ho teamed up for the second in their Visions Of Rhythm series. The three-track release is full of deep-beat and minimal meltdowns, including the opener, which sound likes an inspired old-school ’90s anthem.
Giuseppe Tuccillo and Tomoki Tamura (a.k.a Doublet) have released a wealth of good music since they started collaborating back in in 2013, but “Mush” stands out from the crowd. It’s a simple and uncomplicated piece of work, but the sultry chords and slinky grooves have made it a favorite among purveyors of this sound.
Deepchord & Fluxion Pres. Transformations “Accumulate Part 1” [Vibrant Music]
Accumulate is the first EP in a series of releases from DeepChord and Fluxion (together known as Transformations). The result is as good as you’d expect from these two producers; ” Accumulate Pt.1″ is a particularly brilliant slow-burning dub-techno roller.
Chad Thiessen’s debut solo EP as Neo-Image was brilliant as a whole—but it was this beatless closer that really caught our attention. It’s a slow-burning, Autechre-like trippy affair—pristinely produced for maximum hypnotic effect.
Robert Aiki Aubrey Lowe “Heart of Sogguth” [Latency]
Robert Aiki Aubrey Lowe served up two mind-bending minimalist rhythm trips on his Kulthan EP for Paris-based Latency Recordings earlier this year. Opener “Magnamite” is ethereal and melancholic, but “Heart of Sogguth” is a spectacular, pulsating minimal monster.
Kllo “Virtue” [Ghostly International]
Kllo‘s debut album, Backwater, was released back in October via Ghostly International. On the album, the duo refined their shimmering version of synthpop with 12 floating cuts. The album’s lead single, “Virtue,” with its skittering UK garage-influenced beats, affecting melodies, and Chloe Kaul’s soothing ’90s-esque vocals, is a perfect example of why this Australian duo have risen to be Ghostly International’s pop darlings.
DJ Nnamreg “Probably Too Far” [Melliflow]
The latest release of Binh (real name Germann Nguyen) —albeit under his DJ Nnamreg alias. Melliflow, the label of Vera and Alexandra, has enjoyed another good year after a breakout 2016, sharing a string of solid EPs—but the best was saved to last. Binh’s four-track EP is one of the best in the label’s discography, and “Probably Too Far” is just about as inspired a cut as we can remember in this field to be released over the course of the past 12 months
Shlømo & AWB “Blind” [Taapion]
Taapion Records dropped the third label compilation in 2017, this time featuring tracks from Bambounou, Shlomo & AWB, PVNV, Kas:st. The second of these, from two of the three label heads, is a dreamy, melodic techno track—a big room cut that’s found its way into plenty of sets this year.
Shedbug “Aftermath” (Tuff City Kids Remix) [Flux Music]
You may have heard Gerd Janson or Lauer (together known as Tuff City Kids) smashing this one out over the summer. It was a really tough choice between this and Shedbug’s more emotive original, but in the end, TCK’s rework took the spot. “Aftermath” is transformed into a ’90s revival peak-time anthem: chunky breaks, a touch of acid, strings. Euphoric rave for the new generations.
Grand River “Flies” [Spazio Disponibile]
Italian composer Aimee Portioli (a.k.a. Grand River) finds a new home on Donato Dozzy and Neel’s formidable Spazio Disponibile imprint. “Flies” from her stunning Crescente EP combines undulating modular textures, commonly found in this deeper region of Italian techno, with classical instrumentations that drift hauntingly in and out of the soundscape.
Kiasmos “Paused” [Erased Tapes]
Ólafur Arnalds and Janus Rasmussen returned as Kiasmos with Blurred—the duo’s first release since 2015’s Looped. The title track itself is a beautiful, poignant musical journey; but the softer, more subtle “Paused” feels more honest—more sincere.
Kaitlyn Aurelia Smith “An Intention” [Western Vinyl]
There weren’t many tracks released this year that were as achingly beautiful as “An Intention.” Pulled from Kaitlyn Aurelia Smith‘s The Kid, another of our favorite releases of the year, “An Intention” paired searing, cut-to-the-bone vocals with stunning synth work for one of the most emotionally charged four minutes you’re likely to hear.
Etapp Kyle “Essay” [Klockworks]
Marking the label’s 20th release, Ben Klock‘s Klockworks released a new compilation featuring new tracks from Etapp Kyle, Trevino, DVS1, Klock himself, and more names. Of them all, Etapp Kyle’s “Essay”—a subtle and understated melodic techno roller—was particularly good.
Blawan “993” [Ternesc]
Blawan‘s Nutrition double EP landed earlier this year and featured “993,” a grizzly techno track with a snarling bassline and sinister pads. As Mixmag said in their premiere, “it’s just the kind of track you want to find yourself sweating to in a dank basement in the early hours.”
Cherushii “Milk of Paradise” [Sound Warrior]
One of two hugely affecting Cherushii cuts from the Warrior Loves compilation—the release pays homage to the fallen artist, one of the victims of the Ghost Ship warehouse fire—“Milk of Paradise” is a rich, deep-vibe gem, brimming with shimmering keys and warm bass. It’s a track that feels a comforting as a warm blanket on a cold night, with the kind of chord progression that can give you goosebumps—but its joy is tinged, inevitably, with the sorrow of a life cut short.
N1L “Hazy One” [UIQ]
Martin Rokis (a.k.a. N1L) released Ikea Zen on Lee Gamble‘s UIQ label, serving up six tracks of deviant, obtuse dance music that brings buckets of noise and abstract funk. “Hazy One” is a brilliant and highly memorable example.
Errorsmith ”Superlative Fatigue” [PAN]
Errorsmith returned in October with his first LP in thirteen years, and it’s a playful sophisticated show of where his particular flavour of angular synthetic dance music has come to. You can read XLR8R’s review of the album here. The title track is a supremely energetic and infectious culmination of Errorsmith’s explorations of global dance rhythms and sonic synthesis. It fits in all manner of peak time party moments and transcends genre limits into being a universally effective dance hit.
Dopplereffekt “Isotropy” [Leisure System]
Taken from one of our top albums of the year (Cellular Automata), 2017’s “Isotropy” ranks as arguably one of Dopplereffekt’s greatest tracks to date. Melancholic horn-like notes pierce through the stark emptiness, underpinned by bellowing synth counterpoint. With such scarce arrangement, its gravity and capaciousness seem all the more overbearing.
Octo Octa “Adrift” (Avalon Emerson Furiously Awake Version) [Honey Soundsystem]
Maya Bouldry-Morrison’s (a.k.a. Octo Octa) “Adrift,” with its pulsing synths and strummed chords, plays like a subdued mini-epic, a downcast pilgrimage down a dusty backroad. It’s a beautiful track in its own right, but when Avalon Emerson boosts the energy, heightens the tension and widens the scope with swoons, squelches and dynamic percussion, it’s transformed into something maximally magical.
Radio Slave “Screaming Hands” (Tuff City Kids Dreamscape Mix) [Rekids]
It was a big year for Matt “Radio Slave” Edwards, with the UK techno and house veteran finally releasing his debut LP, Feel the Same, after a lifetime spent in club music. One of the best tracks off that album was the elasticized belter “Screaming Hands”—but this remix from Gerd Janson and Phillip Lauer is even better. Gone is the original’s linear drive, replaced by a dreamy end-of-the-rave uplift that’s pretty damn irresistible.
Superpitcher “Brothers” [Hippie Dance]
There are gems galore within the avalanche of music that Aksel Schaufler (a.k.a. Superpitcher) let loose in 2017 as part of his sprawling Golden Ravedays series, and “Brothers” might be the most party-ready of the bunch. But the tune’s dreamland-disco strut and jubilant feel are marked by an ineffable feeling of melancholy—it’s as if the end of the party signifies the end of something within yourself. Like many of the series’ tracks, “Brothers” is a testament to Schaufler’s knack for adding layers of emotion into a deceptively simple song.
Bwana “On Patrol For Their Control” [17 Steps]
Bwana united his dual loves of vintage ‘90s electro and classic progressive trance with a three-track EP on Dusky’s 17 Steps label. “On Patrol For Their Control” is a euphoric breakbeat affair that’s seen plenty of play time. ___
Words from Ben Murphy, Dan Cole, Anton Lang, Bruce Tantum, Vince Morris, and XLR8R Staff.
Lucid Locations—The Remix Album follows on from this month’s Lucid Reworks, a vinyl-only EP effort with two remixes by Marcel Dettmann, Radioactive Man, and The Exaltics. All of these—barring Dettmann’s Negative Remix of “No Such Location”—feature on this new digital-only release, with Appleblim, Machine Woman, DeFeKT, Nastia, Or:la, 214, Shelley Parker, and Broken Satellite also contributing.
Tracklisting
01. Second Storey “Moesha Moved To Margate” (Radioactive Man Remix) 02. Second Storey “Manhattan To Moscow” (214 Remix) 03. Second Storey “Covehithe” (Shelley Parker Remix) 04. Second Storey “Offbeat World” (Appleblim Remix) 05. Second Storey “Ajunlei 8” (The Exaltics Remix) 06. Second Storey “Acute Angles” (Machine Woman Rework) 07. Second Storey “Whatever You May Be” (Or:la Remix) 08. Second Storey “No Such Location” (Marcel Dettman Positive Remix) 09. Second Storey “Barrel Roll” (DeFekt Remix) 10. Second Storey “No Such Location” (Broken Satellite VIP) 11. Second Storey “Dartmoor Four” (Nastia Remix)
Lucid Locations—The Remix Album will land on February 23, with 214’s remix of “Manhattan To Moscow” streaming below.
MeldaProduction specializes in developing audio-related software products, all of which are said to provide the “best audio quality available on the market,” and the widest range of features.
The latest commercial plugin that was released is MAutoStereoFix, which fixes problems in stereo recordings—even if you didn’t even know there are any! It has been designed for stereo microphone recordings such as overheads and rooms, but can be used on master tracks as well. MAutoStereoFix analyzes your audio material and automatically matches the volume, time, spectrum, and phase of the right channel to the left channel. And if you like it can even match the volume envelope.
The latest free plugin that was released is MSpectralPan, a powerful panner, which allows you to apply panorama to each frequency individually. By exploiting the spectrum domain, MSpectralPan allows you to draw where to pan each frequency—like equalization, but in stereo. You can clean up your mixes, create depth in them, avoid collisions, and produce various creative effects.
MAutoStereoFix and MSpectralPan are both available now, with more information available here.
Comes from 3BYK, a mysterious collective releasing only vinyl. Their first releases come in the shape of the 001 EP, featuring four grinding, stomping, raw techno cuts. In support of the release, the label has offered up “B2” for free download. Grab it now via the WeTransfer button below.
