When we reviewed Doomsday By UK rising Techno sensation Billy Turner, we didn’t realise we’d be reviewing him again so soon. But then I saw his incredible set at London festival Eastern Electrics. When even the mrs keeps saying ‘Oooh I really like this’ you know it simply needs to be done. Distributed by Social Experiment Records, ‘Flush’ is yet another absolute weapon in his ever-expansive arsenal of hits. Released recently in August 2018, it is a hypnotic and doozy slammer. Last year, Social Experiment’s Head Honcho Johnny White aka Art Department picked him out as the one artist to look out for this year. ‘Flush’ certainly asserts this as it unfurls its hazy sound.
In his interview with London Warehouse Events, Billy describes being influenced by darker vibes. With his remixes of Anja Schneider, Dense & Pika, Arnaud Rebotini already in the bag, Flush crafted a new meaning of such concept. Taking inspiration from likes such as Markus Suckut or Planetary Assault Systems, his signature bounding bass is expansive and rumbling. Gyrating percussions start building a tension to the track. Metallic murmurations hummer in the back, similar to those seen on his belter ‘Doomsday’. Furious hats snippet in and out whilst mangled shrills pulsate. Robert Hood talks about what real trance is in his Red Bull Music lecture. ‘Flush’, is a showcase in that. Luxuriously smooth, the whooshes are like cascading flumes of smoke coming from a Icelandic Geyser. The fervid pads send the track down into a whole new realm, bringing an acquiesce for more.
You can see why it was released on the label. Listening to Art Department’s ‘Renaissance‘ or fabric mixes, you’ll appreciate he enjoys a deeper tech set. With other artists like the profound DJ Qu, as well as prodigals Moreon & Baffa being released, ‘Flush’ is a great fit. Our select track to punish the dancefloor.
Hailing from Vancouver, Jesse Bru drops an epic Deep Tech cut that will make one reflect while dancing. The vocal from the track, an excerpt from a movie, talks about when somebody asks you for the truth that you were already wanted to share it’s much more powerful than saying it yourself. With it’s grooves crescendoing in different directions, it feels as though this track is in a constant state of wonder. It can bring out the listeners best self, as well as the dancefloors.
It’s 2009, and Electro House is at it’s peak in Australia. Unless it’s a Vandalism or TV Rock track, most people don’t want to know. I’m at my Central Brisbane Apartment with a few of my best mates Marcus, Hughy, Blakey, Dosa and Jojo having an afterparty, Sven Vath’s Sound of The Ninth Season is playing in the background. Few tracks in one of my best mates Marcus turns to me and goes ‘What the hell is this music? How could you listen to it?’ … a few tracks later ‘Promises’ hits and he then comments ‘Oh..that’s why’.
Promises is the perfect late night track. This Deep Tech banger produced by the formidable Dial Records mainstay Efdemin and Rndm evokes feelings hidden deep inside of the soul, explicitly connecting your thoughts and emotions. Continue reading →
Hailing from New Zealand, Son. Sine hides his face behind a handful number of releases. And all exhibit a masterful understanding of deep tech. Upekah originally came out as a record back in 2000. However the track was revived as part of the EP release by the Dutch label Delsin in 2013.
The track has received support from the Italian techno-duo Mind Against and its easy to see why. Taking it its time, a cracking ambience guides a steady soft kick and layered mellow synths that follows the remainder of the track. The crackle is central to track even being sampled to sound like a clap around the 1:30 mark. For those who are patient, Dub tech is a rewarding genre offering sonically the right environment for introspective thought & self-reflection. Its eternal value rests in the fact that its production isn’t influenced by trends