Compilation Review: ‘Fabric 66: Ben Klock’ (Fabric)

★★★★☆

Another month, another Fabric mix, another Berlin selector at the controls. The sound of underground alliances at work, forced down and sealed airtight, snipping away constantly, twitching between new skools and old – it’s techno wanting your full concentration and investment in celebrating the human metronome. It almost drifts into ambience with K-Hand’s “Starz,” the lightest indication that Klock’s dominantly steely streak constantly issues warnings if not full-on rebukes. Sagat’s “Few Mysteries…” is like a flex of the cane without the subsequent whiplash, as Klock dangles a sword of Damocles over the dance floor. Steve Rachmad’s “Rotary” is another peering its periscope above the surface before retracting to its dark domain, with James Ruskin providing an apt finale with the brooding flourishes of “Detached” — which the mix has never apologized for being up to this point. Floorplan’s “Chord Principal” is the designated headmaster of techno rules, looking at Burial’s “Raver” talking up its outsider credentials.

The king moment though is Klock’s remix of Josh Wink’s “Are You There?” – the vocal comes twofold, asking to give yourself up to a dance floor man hunt or whether you’ve reached your climax, combined with breakbeats snapping the locks off straitjackets. Floorplan’s “Never Grow Old” adds some humanity to what has been a mechanical uprising, pieced together without so much of a fingerprint on the fader and creating that often imitated, rarely bettered Berlin body heat.

File under: DJ Bone, Marcel Dettmann, Terence Fixmer

Album Review: Two Fingers / ‘Stunt Rhythms’ (Big Dada)

★★★★☆

It’s awarded itself a headbanging badge of honor using bladed pyrotechnics…but it’s not dubstep. The serrations always wound and it can go into hyperdrive at the drop of a dime…its riffs transform electro into a form of breakbeat clamor, although, again, it’s just off the categorization you’re seeking. One certainty is that Amon Tobin brings the noise brutishly, the Brazilian’s fondness for twisting synths inside out until they require medical attention never found wanting on this Two Fingers victory sign.

With natural affinity to the dark and computerized, “Fools Rhythm” and its ceremonial use of the hoover synth, shoves the sound into one of glitch-hop’s instrumental mazes. But a returning skip and jump is Tobin heavy-handedly showing a degree of roundabout glee. “Snap” sounds like tech-step drum & bass slouching down the street and although “Magoo” seems at a loose end, it becomes a holding zone for Tobin’s guttural bass energy, spewing through the doomsday cacophony “Sweden” and the 4/4 tempo that takes a hold of “Razorback.”

Where riffs lunge and withdraw into a collective noise and clatter, a lack of vocal guidance either curbs development or makes matters more uncompromising. However loud the ringing in your ears, in these times of bass, Stunt Rhythms will have EQ freakers across the board taking their pick. If you’re still looking for a marker to put Two Fingers against, simply file under ‘pro-Tobin.’

File under: King Cannibal, Eskamon, Fulgeance

Album Review: The Herbaliser / ‘There Were Seven’ (Department-H)

★★★☆☆

The Herbaliser roll into town again, their horns-and-pipes funk and hip-hop giving off that investigative vibe where the crew hand out magnifying glasses and deerstalkers. Topped up by dub, if you’re aware of their development through albums one to six (it might surprise you that this is only their seventh studio LP), you’re not gonna kick up a stink when their latest plays the game the only way they know how. The group’s patented mysteries and intricacies form a slow swirl of theatricality, leading into mild psychedelics and sometimes salacious entering of red light districts (the writhes of “The Lost Boy”), cutting deals with background music before cutting loose (“Take ‘Em On” and “What You Asked For” spinning at B-Boy face-offs and soul claps), and staying cultish without ever flying over heads.

Continuing to put rappers on who they know will fit their bill, regardless of how much star billing they’ve earned, The Herbaliser lace patient beats giving MCs the freedom to do their thing. Canadians Twin Peaks make a reasonable introduction on “Zero Hill” before going on to entertain on “Crimes and Misdemeanours” and “Danny Glover”, with fellow Canucks Teenburger going ghost-busting on the ’80s-thumbing “March of the Dead Things.” Not quite seventh heaven, but if success is marked by reliability, Jake, Ollie and co. need toasting once again.
File under: DJ Vadim, Blockhead, Belleruche

Album Review: Barker & Baumecker / ‘Transsektoral’ (Ostgut Ton)

★★★★☆

Without inflating techno’s scientific slant which can bog down man’s basic right to kick drums, the faux textbook title Transsektoral gives you all you need to know about Sam Barker & Andy Baumecker’s keenness for genre research. It’s all Venn diagrams and pie charts when it comes to assimilating the deep and minimal, the experimental and technical, including a touch of dubstep-like gloom, then sending for the agitated to mix in as well.

“SchlangBang” blazes with its bassline slurping to the memory of speed garage, and the shrill European machination leading the concave scuttles of “Crows” is an excellent scaremonger. There should be no concerns over flow as the pair keep the variations equipped with the same chassis, fitted by the telekinesic twosome where everything is a descendent of the next or former. This sets up a conciseness and staves off predictions that covering all angles must mean the album rambles on forever.

Loath to using the term versatile, B & B continue uninterrupted by delving into Robert Hood-themed rhythm and discipline (“Trans_it2), the utterly primeval beatings of “Buttcracker” again developing a sound that’s not without its discord yet stays firmly entrenched in the basement, and finishing with the splendid curtain-dropper “Spur”. Techno that ticks all the right boxes, without ever making it a chore.
File under: Voltek, Delta Funktionen, Cosmin TRG