My fellow Aussie mate upon having a sterling, energetic night out would often state that he’s feeling ‘cooked.’ Ironically, the chap being reviewed here runs a label called Cooked Records. And it’s probably because listening to any of his famed, finely-tuned Built-for-Berghain bangers leave punters feeling the same way my mate felt. Ukrainian Yan Cook delivers yet another belter with this fine release on Scottish techno legend Slam’s Soma Records. A 2018 release, ‘Noisy Neighbours’ certainly lives up to its name. Extending his production line to labels such as ARTS & Delsin, the man is just as adapt at slower cuts like ‘Plot‘ or his remix of Heiko Laux’s ‘Neutron’. This packs so much dynamite it’ll break the resolve of even the most rigid slouches on the dancefloor.
Paul Ritch is a chief deliverer of such epic locked grooves, and this sounds reminiscent of his track ‘Pacemaker‘. A venomous Bass that’s focused yet slinky, it hovers in and out like a tunnel bore. The way it bounces back and forth just before the fourth bar makes it feel like the track is bounding forward. Raudive’s remix of Chrom’s ‘Cygnet Glacé’ is another proponent of such crafty tricks. Where Ritch used a skeletal approach, this is merely a foundation in the building. Rattling sonar soundscapes pulse, flexing the cerebral in the same way as Function’s ‘Disaffected‘ brings about that hurtling-through-space feeling. Eery recordings of evil alien like noises skirt across from left to right, adding atmosphere to a dystopian world that bathes in distant background sirens. Flickering hats come in and out before a sequence of modulated late 90s style hard trance stabs complete the picture. Continue reading →
Darmstadt local Benedikt Frey will not be requiring Elon Musk’s assistance for reaching Mars. His range of releases coming from such labels including Ethereal Sound, Mule Electronics and Live at Robert Johnson demonstrate one trait in common – they equally sound extragalactic. The DJs discography consists of alternative soundtracks for ‘Invasion of the Body Snatchers’, Plutonic acid party weapons and themes accompanying launches of Space X. His bachelor thesis alone feels like an exhibit of a dystopian experiment created by the Fourth Kind. ‘Out of Here’ feels downtempo in comparison, yet retains the viscid quiddity of xenomorph.
Filtered, timid kick drums drop you a clue within the intro that the track is likely to fall under the nu-disco category. Martian frequencies approach you like a UFO-investigator at an vacated Area 51site. Vintage Italo-disco snares begin to shiver. It reminds you of calibre attested by one of the finest exports from Naples. Brass synth stamps its authority with magnitude that rivals the Behemoth creature from ‘The Mist‘. It dances with a water pot clanging hi-hats substitute in an offbeat unison. As the track draws to its conclusion, hauntingly mellow siren lingers on the fringes of the soundwaves. It serves as a reminder of the producer’s intention to create an extraterresteral atmosphere.
When you think of all time greatest Trap banger, Young Thug’s Check, Future’s Codeine Crazy or Migo’s Versace will all spring to mind. DHS’s ‘House of God‘ would have to be one of the most widely recognisable house & techno classics with more remixes and versions than Donald Trump’s lawsuits. ‘Watch the Sky’, a 2002 release, loses the functionality that made House of God such a functional trip, instead giving you a track so impressively imaginative. It cements a case for why many consider early 2000’s releases as groundbreaking times for experimentalism in the underground scene.
Radar pulses is the only constant in the beginning, radiating over the top of a chameleonic mix fussing indie rock drums which fade quickly in the a dubby bass, tapping triangles and drum rolls. Before your mind has the time to comprehend what is going on, a vocal sounding like Ron Burgundy tells everyone to ‘Watch The Sky’. Like a UFO popping straight out the cloud, wonky synths walk off the track like a drunken man in stumbling motion. More extraterrestrial high and low end shrills are added to this melting pot of a track truly giving the listener a palette of placed sounds crafted masterfully like a Leonardo De Vinci invention. Continue reading →