The third Rebar release sees the duo Lost in Hanoi, taking on the Vietnamese capital and channeling its buzz and exotism through field recordings and insightful soundscapes. 'Noi Bai', named after the capital’s main airport sets about with dreamy pads atop a relentless bassline. Once the vocal kicks in, a recording of a real announcement in the actual airport, the track comes together as you can already see yourself in this state of arrival. With a name reminiscing of Hanoi’s market Dong Xuan, the track centers around a loop recorded from a local street musician. Bustling and busy, the track reinterprets this feeling in a composition that’s both hypnotic and functional. Rounding up the release, 'Train Street' is a quick-footed stomper, adorned with dubby stabs and powerful bass weight. Inspired by the main train road that runs through the city, it’s a straightforward techno tool that can get the dancefloor moving.
Downl

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Rebar continue their geography-infused musical journey with the second EP, Lost in New York City. While the first release unveiled the majestic anthropophony of the Japanese capital, this release is centered around the city of New York. As in the previous offering, the three tracks all pertain to different styles, exploring different facets of techno, while carrying the common soundprint of the American metropolis. The first cut unveils a mesmerizing techno construction, while the second makes for a groovy interlude, rounded up by rolling techno in the third track. A mysterious and compelling affair, released on vinyl and digital at exactly one year from the inaugural opener.

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Rebar, the duo behind the “made of CONCRETE” label kick off their self titled label. “Rebar” is meant as a space for the artists’ own sound explorations, aimed at putting forth releases which combines their usual style with cross-boundary composition. “Rebar #1” sees a versatile three piece assortment with a seemingly common theme. Field recordings make ample appearances in Rebar’s work and this release makes no exception: a large part of the elements were recorded in and around train stations of a famous metropolis.

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Markus Suckut returns with his second EP on 'made of Concrete'. Named after the Ruhr area, one of the densest regions in Germany, 'Ruhr' shows off the mesmerizing skillset and versatility of the producer. His hometown Düsseldorf is one of the three major cities on the Ruhr map and has brought up its very own Düsseldorf-sound within German electronic music, with local heroes Kraftwerk paving the way in the 1970s. The twists and turns of the Ruhr river and the musical paths that electronic music has taken all come together in this EP, which steers from techno to electronica with ease.

While 'Tunnel' is a rather straightforward minimal techno banger, the title track 'Ruhr' is almost melancholic. 'At The Park With Friends' ventures into the realms of ambient. The 5-tracker is accompanied by a technoid remix of 'Smoke' by Markus Suckut's longtime friend Thomas Hessler.

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After previously exhibiting his remixing dexterity on two other occasions, Myles Sergé returns to „made of CONCRETE“ to showcase his production chops in a four track EP revealing three originals and one rework. Firmly rooted in his hometown of Grand Rapids, a city along the legendary Detroit-Chicago axis, Sergé stays true to the musical hallmarks that made history in the scene, sketching up a contemporary soundscape with haunting old school influences. The EP unfolds as a real treasure trove, with each track digging deeper into the realms of dubbed out electronica, while masterfully blurring the lines between house and techno. Centered around an electric resounding motif, „Rules of Engagement“ kicks in with a triangulating synth kept afloat with subtle elements and variations, anchored in a complementing yet discrete bassline. „Everything In Darkness Comes To Light„ revolves around a funky chord progression, making for an unusual house exploration filled with whimpered vocals and eerie rustles. Aubrey steps in on the remix, offering up a cavernous take on „Rules Of Engagement“ by inserting major distortion in the initial synth lead. An array of glitches paired with metallic synths wind up a dynamic countermelody that ultimately takes over the entire groove. The eponymous „Walking Through Concrete“ bounces in with blunt percussion stabs paired with distant claves and clangs, gradually building up the main melodic loop. The entire release stands as evidence of Sergé’s ability to carve melodies into cold and dark concrete-like ambiances, doling out solid slices of groove-infused techno.

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Alek S offers up another dose of pensive techno vibes in his “Paradise Lost” EP. Side A opens up with “Bold”, a slice of laid back while still pounding techno, boasting zippy synths with an unmistakable analog flavour. It’s closely followed by Andres Zacco’s rework of “Honey Wheat”, an apt reconstruction of the original that’s aimed squarely at the dancefloor. The Argentinian producer and recent Ilian Tape alumni dives in with a powerful groove, cutting its way through a suspended atmosphere full of spaced out sounds. Over on the B-side we’re greeted with “Paradise Lost”, a slow-paced melody that gradually shifts into a dreamy groove filled with spaced out drums and abstract delays. Last but not least, the original version of “Honey Wheat” is a somewhat atmospheric, yet functional floor warmer that fits a resigned groove.

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British producer Reformed Society is on a steadfast mission to dig deeperby going against the grain, standing up to the status quo and daring to dosomething different. A self proclaimed goal that is easily noticeable in hisfirst release for "made of CONCRETE", wherein he reveals three originaltracks and a remix by Gathaspar, one of the label's regulars.Kicking things off with "High Tension", a high strung stripped back piecewith an aerial feel, the artist builds up the entire mood of the EP fromscratch. A clear-cut, steady groove whose versatility makes it relevant asan intro, outro or interlude.Gathaspar's Rausch Remix is a sub-bassy reinterpretation of the initialpiece, filled with contorted whirs and whizzes that give the track a sub-aquatic feel.On "Volgende Halte", the opening vocal sample shifts from a seeminglyconventional soundbite to a recurringly haunting snippet that remainsetched into the listener's brain. Rhythmical rolling pads galvanize thegroove, making for an eerie yet relaxed overall vibe.Movement inducing from the get go, final offering "Orbiting Jupiter" centersaround wavering bass leads, while playing on a blend of spacious synthsand timbered percussion patterns.

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After his release on MOC last year, Dudley Strangeways joins forces with Michael McLardy for their first joint EP on the label. Well known as the heads behind Leftback Records and frequent collaborators, they each contribute two original tracks in sheer concrete style. Michael McLardy opens proceedings with “Separation”, a minimalist techno exploration that slowly builds up by the way of mechanical rolls and undulating synths. Kicking off with a playground noise sample, the bit fades away after the breakdown and is replaced with dark eerie guttural cuts, enhancing the overall gravity of the track. “Another time” plays upon the same ambiental background sample, giving the piece a sense of familiarity. The build up, however, is loosely strung with ascending airy synths, while metallic percussion pads keep the groove grounded. McLardy manages to create an infinite sense of spaciousness that’s cut off to an abrupt end, predicted only by a faint and hollow percussion lead. Dudley Strangeways’ first offering, “Cast” is a moody slice of ambiental tech, with a slow pace aptly accentuated with piercing shrills and clangs. “Hydra” takes us into the deep end of dark techno straight from the get-go with its pounding bassline. Crafted by layering minimalist yet memorable arrangement patterns, space is once again key. A classic piano lead makes its appearance halfway, giving the track an entirely new dimension and prolonging, yet never releasing the pent up pressure.

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Ashworth concentrates on the essence of solid techno in his first full EP for made of CONCRETE. Inspired by the main component of concrete itself, the material is intitled ‘Portland’ and consists of no less than four original tracks. “World” makes for a gentle introduction by opening with a soft melodic lead, swiftly changing the tempo after a few measures. We’re quickly immersed in a syncopated bassline peppered with whirring synths that harmonise with full scale piano cuts, the most intriguing earworm on the entire cut. On “Launch” the producer lays down hard hitting techno drums from the get-go, setting the foundation for a tense atmosphere. Ashworth’s signature move quickly ensues, as he manages to inject emotion through synths and piano pads into an otherwise tense and anxiety-ridden ambiance. Toning down the graveness of the previous tracks’ mood, ”Mineral” reveals a surrendering groove, with a stripped down, minimalist approach, where the melody is assembled with the help of industrial elements, emotive bleeps and electric glitches. Ashworth’s experimental edge is evident in the final track “Scatter” - the sub bass lead creates a morose atmosphere paired with low-key synths and mechanical loops. While the first two tracks showcase Ashworth’s ability to instill life into solemn techno soundscapes, the second half of the EP successfully exhibits his edgy experimental side, adding up to a heterogenous release.


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Lets go back to straight rhythmic and classic sounds: Homeless House, known as DJ & Live-Project of Moire Patterns & DJ Kriton, have constructed the “Irrational Beat Up EP” (MOC005). Live-Session originated sounds develop with each other and unite to a specific old school House/Techno sound. The first track “Irrational Beat Up” convinces by a direct push of dirty kick and bass followed by catchy percussion & chords. The second part, “Astronaytis” branded by rough sounds and vocals, leads to a certain state of trance in which the snare-brakes take the perception back to reality. The final part of the EP is covered by “Sous Sols“. Intense chord-progressions collide with solid beat structure & a slight bassline to show up a lighter part of the before continuous dark sound.

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Up next on Made Of Concrete is Gathaspar with his "Gathsoland Ep". With Straight sounds and dark beats, Gathaspar takes it down to the realm of shades. After the vocal-heavy intro of "Gathsoland" the subkick abducts you into areas of unknown soundscapes. Through the stormy pads of "The Vision" in cooperation with Echologist the EP is brought down to a round figure by the combination of traditional elements of techno and modern interfaces in the last track "The Lover Of Ursa Major".

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