After two in as many years, low-key German producer Yør returns to similarly low key Dutch imprint Purple Maze for his third full outing on the label in the form of the 'Sublimation EP'. Across the four tracks Yør continues to explore the same frayed and decayed, abstract electronics as he has in the past, with distant kins like Kassem Mosse and Morphosis still resonating. The opener and title track is an intense and moody, nerve jangling affair where huge searching synths pan in the background of grinding drums and dense percussive clatter before 'Gravity', with its heavyweight and churning drums, trudges on through sonic scuzz and lo-fi blizzards as a backlit melody keeps things from growing all too dark and abstract. The many different contrasting surfaces and counterpointed moods make Yør’s sounds as arresting as they are. The dystopian, tortured industrial funk of 'Parallels' with its slapping claps and decaying percussive lines are proof of that, where through chaos comes beautiful order. Closer 'Trust' holds its head a little higher, more spiralling synths and bleepy fax machines tones add a sense that the apocalypse is coming and machines will take over, but there’s enough organic beauty in the deeply hidden melodies to keep the track from being all too hostile.

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After three releases of darkened house, proto rave and weird techno, Holland’s boutique Purple Maze label takes a detour into funky disco territory with Prime Numbers and Firecracker craftsman Fudge Fingas at the helm. His Amaranthine Labyrinth EP is lively, bright and sugary, but still features plenty of complex analogue machinery to get you dancing.‘Eyes On The Prize’ opens proceedings with some distant bongos, glassy percussion and punchy kick drums. It’s a jostling track with insistent claps running right through it that really comes alive when some sweeping chords bring irresistible colour and funk.
Next up, ‘NTNLC’ has excitable vocals “woos!” and busy, hyper speed melodies racing along with classic hi hat ringlets: the whole thing sounds like it’s about to explode like a firework but never quite does, instead bouncing along with plenty of bristling, party starting atmosphere. ‘Kinski’ is more subdued and deep to start, eventually surging off into some twinkling cosmic universe somewhere far away. Chicago snares and 303 basslines intertwine with each other as dollops of melodic colour and ringing, harmonic bells bring the brightness before final track ‘All As It Should Be’ goes super slow, almost beatdown, rocking backwards and forwards on the spot with a breathy voice drifting above wooden sounding percussion, xylophones and plenty of gentle grooves.
Fudge Fingas has a unique sonic palette; his sounds are bright and cheery without being overly sweet and, what’s more, you’ll never hear a standard plug-in or over-used sample anywhere in his lush soundscapes. This EP is no different. More

Expect to get lured into the Purple Maze with this third release by the Dutch imprint, once again by mysterious producer Yør with his “Modern Slaves Of Contemporary Contexts EP”. Again it will be a shadowy and esoteric dancefloor experience like few others. The EP starts with ‘ABCM’, a dystopian landscape of buzzing machines, ticking percussion and raw drums that builds and builds until eventually coalescing into a foreboding and roughshod house groove. The sound of circling space ships, dangling glass tubes and other odd effects flesh out the groove into something really quite intense. 'Dystopia' continues in Yør's tradition of contrary titles, because it's in fact a soothing cut doused in ambiance that relaxes you after the agro ride that went before. There are some bumpy beats underneath the whole thing but the large spaces above are what mostly occupy your mind, before 'Fear And Desire' comes over like a deep, spare Redshape cut: searching synths, a fine grain texture and plenty of disheveled Detroit vibes. Closer 'Phaedra's Love' is a scuffed deep house kicker with delicate tambourines, somber buried melodies and a only the faintest sense of optimism muffled in its concealed core... Modern Slaves Of Contemporary Contexts, then, is another great EP from an unordinary sonic world More

Enter the purple maze again with three subtle techno tracks from Yør. After some challenging an experimental offerings last time out, secretive musicos Purple Maze are to release their second offering, the Rave EP, in December 2011. It comes from equally low-key producer Yør, and is a release that operates a little closer to the dancefloor than maze 001... Despite the opening track?s title, though, ?Rave? is still no mindless banger. It?s heavy, analogue and deep house with a well-swung kick swaying back and forth to start it off. Soon as some minor chords drop in from above, though, the air turns dark and somber and things wallow. But with the arrival of some sandy hi-hats and grimy percussion, the mood grows optimistic rather than pessimistic, and picks up momentum as a result. ?Golden Boy? is slightly more mobile from the off. Again taught analogue bass notes start it, but nebulous samples and percussive sounds flesh out the structure as a panning tick grows louder and a radiant synth line weaves its way throughout the whole mix, threating to explode into euphoria. As a result you stayed lock in, willing it to break out, but it doesn?t? the subtle joy of the chase is immeasurable. ?2712? is like eavesdropping on a busy dancefloor from somewhere underground: The whole thing is in fine grain, with soft focus beats and indecipherable voices all muffled by static and tape hiss. It fades and dissipates with no warning and sounds as if it started long before we tuned in, and will go on long after the thing finishes? eerie, earthy stuff. A self-assured and delightfully suggestive release, Rave EP pulls you deep into the Purple Maze without you really realizing.
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