Never underestimate the power of a good bassline. Mark du Mosch certainly doesn’t. This veteran from the harbor city of Rotterdam let’s his vicious bass line creep up on you from behind on 202 AC Ra. A dark and jacking club belter with clear Chicago roots. The five track EP The Heavens may be his debut on SoHaSo, Du Mosch has been releasing music for over fourteen years on a variety of respected underground labels, such as Moustache, Dekmantel and Royal Oak. His versatile style draws on sounds that evoke strong mental imagery and a sense of eternity, which clearly shows on the introspective Resonance Delay (She) on the B-side. In which a melancholic melody is supported by muffled slow motion beats. The beautiful artwork on The Heavens EP is by Joost Stokhof, an Amsterdam based graphic designer who is known for his love for detail. Which makes him perfectly suited for Du Mosch’ subtle and well crafted dance tunes. In a normal world you would open your EP with the title track. Du Mosch chooses to close with it. The Heavens stays true to it’s name. A harp like melody that washes ashore as foam from a greyblue Northsea that calmed down after the storm. Heaven indeed.

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New double 12" by NL's Mark Du Mosch (Moustache Records/ Tabernacle). Taking in a lot of styles on this one, and nailing it! Ltd Edition Vinyl, Pressed on 180 gr vinyl, In A Silkscreened sleeve. Tip!

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Mark du Mosch delivers an absolute techno belter! Follow up on the superb debut album "Salmiak" featuring trippy, long and deep techno with "Sanctuary", a dancefloor-cracking-remix by Syncom Data of the mad acid-rave of "Cold Sweat" and the lovely melancholy disco-ish house soundtrack which is "Loss". Another killer EP by Mark du Mosch.



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Astonishing album by Mark du Mosch, who delivers his first full length album on Syncom Data Records and it's quite simply overwhelming. In a true Detroit fashion Mark du Mosch rides that fine line between techno, house and disco. That line which guides you to the dancefloor as well as a higher musical and emotional level. With ''Salmiak'' Mark du Mosch shows he's not only a great DJ, but one of Hollands finest producers as well. Absolute techno house killer bomb. Don't sleep on it.



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Although sound is his medium, what is seen is central to Larionov’s new 12”; I Want To Believe. After scanning the heavens, the Russian producer lands with six tracks that encompass a spectrum of electronics. A glistening dawn of bright melodies and murky basslines introduces “Morning Light”, crisp percussion adding balance and ballast. Aquatic lines and soulful arcs are at the core of “Across the Sky” before the bold synth stabs and rasping rhythms of “External Twilight.” Illuminating the flip is the sci-fi inspired “Strange Lights” with the eclipsing shades and tones of “Shadows” darkening speakers while igniting floors. The close is the future gazing “Space and Time.” Fluid strings, reverberating arpeggiators and vocoder lyrics are kept in check by incising snares in this superb finale.

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Not content with a double 12” of acid drenched delinquency, Schrödinger’s Box have drafted in four 303 addicts to bring their own acrid fire to Hard Ton’s Bigger is Better. To get the bitter ball rolling, Larionov opens. Known for his dark electro and EBM leanings, this reinterpretation of “Transcend Your Body” is a bruiser of throbbing pulses, lancing lines and stabbing synths to pierce the fog and strobe. Rude 66 follows with his beloved vocoder doing battle with Massimo Bastasi’s original vocals. The result is a duel of distant rhythms and shimmering wordplay. The flip sees Nightwave on the attack. Brawny beats elbow lyrics in this driving audio onslaught. Bulging rusted basslines crush speaker cones as a blistering remake takes hold, blasts of body bending brutalism turning Hard Ton’s original into an even sweatier brute. An artist born and raised on analogue squawk and squelch finishes. Posthuman, one of the infamous figures behind the I Love Acid nights, takes the tongue-in-cheek Brit Pop flashback of “Girls and Boys” and contorts it into a grimy Chicago jam.

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The genre re-defining chameleons of Hard Ton are back on Schrödinger’s Box with their own brand of style splitting acid house disco. Bigger is Better, a double EP album, has all the depravity and drama you would expect from these disruptors. “Waking Up The House” melts claps, cowbells and vocals over a molten melody. Bold stabbing keys are central to “The Right Thing”, lyrics spiralling skyward as a bitter acid line pulls the track down into the sweaty pit of the club. That TB303 goes into overdrive for the wonderfully demonic hedonism of “Bypass My Love.” Two-stepping jack is given a voice thanks to the breathy words of Josh Caffe as fanfare rains. The understated “Let Yourself Go” is a distant cousin of the bawdy and brutish “I Know A Bitch”, the heavy bass and cutting samples of the finale recalling the basement bruisers of Chicago.

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The genre re-defining chameleons of Hard Ton are back on Schrödinger’s Box with their own brand of style splitting acid house disco. Bigger is Better, a double EP album, has all the depravity and drama you would expect from these disruptors. “Be Somebody” is a proud call to a dirty beat; chin up, chest out and let the claps and hi-hats fly. Flanger effect units are pushed to the max in “Trip To Your Mind”, an acid dripping, falsetto bending banger. Rhythms collide and sweat hits the floor in the body jacking “You Want Me” before new age rave mantra of “Transcend Your Body” with its steepling synth stabs and 303 barbs. The close, “Girls and Boys,” is inspired by a Brit Pop hit. Beefed-up, muscled-up, this club ready weapon will bring the house down.

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A 12” filled to the brim with talent, Schro¨dinger’s Box have collected three juggernauts of wave tainted electronics for the latest. Dmitry Distant teams up with Norwell for a partnership of serious intent. The pair deliver a trio of blackened tracks, opening with the ghoulish caverns of “Transient State” before the long shadows, acid stains and painful echoes of “Visionary.” The duo venture into brighter territory with the computer funk of “On A Verge of Veil”, crisp beats and bubbling melodies changing the tone. Following Beyond the War, Cute Heels returns to occupy the flip. The Colombian is immediately on it with the swirling mirrors of “Kuriyaki Horizons,” a kick drum offering solid footing in this entrancing piece. An aloof, yet alluring, disco hook takes hold for “Litua”, a low thump keeping time. The finale arrives with the clipped industrial gait of “Determinated In Order.” Marching to a military beat, this work is industrial inspired with Cute Heels keeping a close ear to the pressure release gauge.

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Izorgor’s sound reflects his burly bouncer name. Drums pound and hi-hats slash in the mean and murderous “HDF-N”, a soundtrack for car crashes and late late club sessions. “Nosferatu” comes from a similarly evil place, percussion is fed through a mincer before a fog of distortion descends to smother samples. If you’re after a respite, you’ll have to wait or feck off home. “HDF-S” wades in. Similar to his sibling in terms of rancorous rhythms, this beast drips with 303 sweat and venom with just a touch of salvation in those soaring notes. Boris Brenicki, of Ontal fame, ends with his own sepulchral take on “Nosferatu.”

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Schro¨dinger’s Box found a true audio delinquent when they discovered Rapha. Resident at Alphabet Club in Tel Aviv, this is a musician who creates tracks with a punk attitude and a painted acid smile. The co-founder of Chateau Royal arrives with four blistering numbers for our box. After the pounding percussion and 303 smears of “Ivanka”, this sidewinder synthesist unfurls the brooding darkness that is “Transform.” Lighter tones pierce the gloom in the carefully crafted “Visionia” before The Exaltics lands for some deep and dreamy electro with an incredible remake of “Voyager101.” Rapha’s original of “Voyager101” closes the 12”. Rasping rhythm patterns cut a path for rich dauby analogue bars in this stripped-back, late-night close.

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Never ones to turn down some acid, Schro¨dinger’s Box welcome a well-seasoned 303 master into its ranks. With more than a decade’s experience of knob jerking body bending bangers, Snuff Crew are true veterans.

The intent of Always Oldschool is laid bare on the needle drop. Throbbing beats are laced with silver-box squawk as vocals circle in the midnight sweat of “Mile High.” Forged in the sound of Chicago, “Mousehole Groove” is a gnarled and nasty banger brimming with attitude. Accentuating that attitude, Hard Ton arrives to bring his unique vocals to the proceedings. Drenched in simmering decay, spiked with rusted snares, “Jack Until” is an ode to the club and the possibilities it brings. Carrying on from that late night romp, we wake up with “Sunday Morning.” Club comedown? Think again. Piano keys cut a sharp and fine mood with lyrics only pushing the happiness even higher. Smouldering with a touch of something sinister, “Friendship” closes the proceedings.

Always Oldschool burns with a full intensity. A 12” of fiery floor funk and enflamed passions, a 12” that comes with Snuff Crew’s guarantee of sore muscles and a flourish of romance

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Torrent unleashes 8 malevolent creatures that writhe, scream and fight their way across both sides. Opener “++^. x^ -_-___” playfully introduces the record, the iridescent melody creeps in and out of range, surrounded by distorted drums and twisted arrangement. The “Handler” trilogy and “XXXX” 1&2 all shining light on Torrent’s different approaches to the gruesome subject matter at hand. The remaining 2 tracks “ORDER BLACKLIST NO. 17” and “Duel” compound the nightmare. Both drenched with screaming, demented vocals with unmistakable influences from EBM and Techno. Transparent / smoky vinyl.

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Perseus Traxx makes his Schrödinger’s Box debut with a 4-track EP of experiments forged in the depths of Northern England. Pristine plateaus and eerie sweeps cover the entire first side, a Perseus Traxx from 2090, shimmering in and out of phase within a murky acidic landscape. Introspective and thoughtful throughout. B1 surges forth with resolute intention, headed straight for the singularity. The UK’s answer to Legowelt – Timothy J Fairplay finishes off the final quarter with a summer-garden Techno banger. Purple / transparent vinyl.

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It’s with a pride filled, yet heavy, heart that Schrödinger’s Box bid a welcoming return to the uncrowned King of Acid, Andreas Gehm. After Cosmic Interrail come four tracks of acid scorn, corrosive jack and twisted spite. Under his own name, and the time honoured mantle of Elec Pt 1, Cologne’s 303 contortionist serves three works dripping in bitter bars and skewered by claps and snares. “Captain Future” sits outside of the quartet, a carnival outake of whirling lights and crashing cymbals. Pure quality from the Acid King. Yellow / marbled vinyl.

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It’s electro, but definitely not as we know it. Sorrowbot arrives with a new perspective of the classic sound. Traditional frosted sounds are picked apart and injected with some new found energy. C64 chiptune chicanery is crumbled across thick bass lines, acid squirms atop biting beats as this newcomer offers something different to the ears of the machine funk faithful. A frigid style that skates on a shimmering surface of subtle shifts and warming currents. Braindance with a touch brainfreeze to it. White / marbled vinyl.

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