Bax is back. First released in 2011, Mosca’s UKG homage, ‘Bax’, did big things when it landed. Almost 10 years on, it’s time for a repress.

Though Mosca missed the golden era of garage in the nineties, he caught on to darkside pioneers such as Horsepower Productions, Benny Ill and El-B later on. A blend of homegrown British styles lies at the core of his electronic music influences, early dubstep, jungle, minimal grime and bassline, which he’d experienced first-hand at Sheffield’s legendary Niche club. (Little known fact: The name Bax is a partial nod to Steve Baxendale, the man behind Niche).

All these elements coalesced in the studio and the two-tracker materialised in a couple of days. Both sides of the record do their thing on the floor; ‘Bax’ with its now infamous ‘My DJ is live in the place’ sample, that earworm melody and a ruffneck b-line.

On the flip ‘Done Me Wrong’ sees Mosca incorporate several key garage tropes; the bassline swinging alongside soulful vocals (which get sliced and diced), not forgetting that cheeky rewind.

My DJ is back in the place...

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Delving deep in to his dub chamber, Mosca delivers a pair of upfront rhythms for Livity Sound. 'Don't Take..' hits hard, it's whiplash groove fine tuned for maximum dance floor impact. By contrast 'Peyote Stitch' takes a deeper approach, it's hazy spectral visions sat atop low slung drums in trademark Mosca style.


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In Mosca's own words, this release embodies "melting Miami, Rio, a field just outside the M25 and The Bronx into modern-day London."

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‘I'd been thinking about starting a label for a few years but it never really seemed like it could work. Nowadays there's more coherence in my productions it seems like the right time. I'll be releasing music from other artists as well my own stuff - underground house, techno and the rest, stuff with darkness and sexiness. Hopefully it's music that will speak to (somebody's) heart as well as their feet. The first release is called No Splice No Playback and it's two tracks of house music. Vinny (Flamingo) is a basement thing, Suckle (Twenties) works in warehouses too. Thanks for reading.

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he next release on Hypercolour is a rather large one that has been pursued for a while: an EP from multi-genre explorer, 3024/Numbers alumni and all round badman Tom Reid aka Mosca. Across four tracks and one digital bonus, the pioneering producer offers up his own unique view of house music.
Somewhat appropriating his game to fit with the utterly modern club vibes of Hypercolour, opening track ?Eva Mendes? is a bouncy house track through and through. It?s a fulsome, cantering arrangement peppered with typically well designed hits, a subtle breakdown and plenty of neon colour come the second half? classy floor filling business, to be sure. Next track ?Accidentally? has legendary house vocalist Robert Owens contributing a sometimes
dark, sometimes more sensuous spoken word monologue to Mosca?s glitchy, warehouse styled beats and bubbling, scattered synth work: it?s muscular in make up but human in spirit and you also get a voiceless dub version on the digi release.

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Very limited, hand stamped vinyl release of Julio Bashmore & Swing Ting remixes of Mosca’s “Tilt Shift”. Julio Bashmore ups the tempo, warming the track whilst adding extra subs. With clever twists & frills he brings the track into new areas in a typically understated fashion. Swing Ting are DJs Samrai & Platt, so called after their club of the same name which is one of Manchetser’s most forward thinking underground monthly gatherings. They provide an instantly effective blend of grime, garage & bassline with both their vocal & dub versions. Their remixes display their deep understanding of these styles. With the vocal version they cooly chop the rhythms into a ruff dance floor workout while the dub takes things deeper & dreadier, finding natural space in the groove & rocking a pure sound system rinse out. Support has come from all over including Marcus Nasty, Mosca, Wifey Crew & Simbad

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It's now almost two years since German producer Sawlin made his debut on Ann Aimee, but now he is back for a third EP on the Delsin sister label. Entitled 'Niedertracht', it features four more tracks of searing techno in truly uncompromising Sawlin style. 'Kontraktion' goes first with heavy metallic hits, lots of industrial machinery found sounds and thumping kick drums. It's lumpy, mechanical and stiff stuff that is slow and purposeful. The surface of 'Padjam' is then covered in squirming, scratchy little effects as syncopated drums swing deep down below. Eventually the thing gets fleshed out with some malfunctioning melodies and slurred vocal stabs yet still it sounds like no other techno out there. 'Niedertracht' takes up the b1 with a spangled techno track that has gurgling synths and fizzing drills all encased in a ravey arrangement of horns and windy howls. The broken sounding 'Weibhaupt' is made up of metal loops, punctured drums and rasping synths that sou nd like factories in melt down. This is truly inventive electronic music that's laced with a very real and unmistakable sense of industrialism, and proves Sawlin is one of the day's most exciting producers

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Mancunians AnD have lead the way when it comes to the industrial techno revolution of recent times and now serve up three such tracks on Ann Aimee. Coming after plenty of great work on their own eponymous imprint. The titular track 'Ard Core Krew' kicks things off with squealing machines, huge dump piston sounds, metallic synths and brutalist kick drums. It?s a hostile world of sound in which it is easy to get disorientated, and ?Changed My View? is much the same, with every single element sounding raw, frazzled and under plenty of strain. It?s a fuzzy, dirty track with lots of detailed activity as well as huge stomping kick drums, which pin it all together. 'Free At Last' is the most propulsive and forward moving; surging as it does on a grimy brew of splintered hi hats, incessant kick drums and low fizzing frequencies. Aggressive techno never sounded so fresh!

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Sawlin's debut EP on Delsin off shoot Ann Aimee went down so well it only made sense to have him craft another. 'Eviment' is that EP, made up of three more deep and subterranean techno cuts that play with plenty of textures. Title track 'Eviment' is a tortured and paranoid offering that has a nagging vocal stretched out over splashy claps and a foreboding bottom end thud. It's vast and dark, spare and haunting where 'Kretze' is a bigger and bolder track. The analogue percussion and serrated lines all sound old and aged as they mark out a scraping, dystopian vision of a world well away from here. 'Sour Tear' has a more syncopated, techno-funk groove but is still padded out with plenty of dubby undercurrents. Sawlin's percussion sounds are wholly non standard, from clanking metal to twanging strings, everything sounds like a real world sound, which makes his music as arresting as anyone's, despite being made firmly for the techno back room.



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Delsin’s sister label Ann Aimee (pronounce it however you like) has unearthed another techno talent here in the form of Yan Cook. The Ukrainian has collaborated with a number of people in the past, as well as working under aliases like Eigenes Rezept, but is now focusing on his own style fully: heavy dancefloor techno with haunting atmospheres. Listen to his (vinyl only) 2x2 EP and you’ll get the picture immediately: ‘Rhomb’ is as heavy and subterranean as they come. Apocalyptic sounding searchlight synths pan over the whole arrangement as microbial sounds busy them selves in the foreground. Vast, echoing claps seem to hang in the air and you can imagine someone like Dettmann dropping this in Berghain to a rapturous reception. ‘2x2’ bangs the box even harder – the kicks hammer the same spot over and over rather than rolling onwards, where the gradual forward motion instead comes from the rattling, melting synth chords that flood the arrangement each bar. This one’s aggressive and raw, splintered and forceful: Yan Cook’s grip on the dancefloor, then, is a firm one to say the least.



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Having lain out it's darkened techno vision with the epic and enthralling Inertia compilation over the last few months, Delsin's little sister, Ann Aimee, is back. Back with another bang, this time from mysterious Vault Series associate Sawlin who drops four cuts of grainy, scratchy sounds with his Techno Dumping EP. 'Boring Feels' is the deepest offering, gently pushing forward as sharp percussion sounds roll off the heavy and hunched over bottom end. 'Techno Dumping' is a punchier affair with trippy background atmospherics and a cantering bottom end that’s paranoid as hell, whilst 'Datamen Working' is a dubbed out destroyer with eerie shapes craft sounds and muffled vocals throughout. Closer 'Neid Auf Vacuum' lets in some shafts of melodic light to its clappy house heart, with rippling keys and train-track sounds fleshing out the backdrop: more finely crafted dance floor weapons you simply need in your collection.

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The final of four in the Inertia series with four new exclusive techno tracks. The final hurrah for Ann Aimee?s Inertia compilation sees four modern techno heavyweights add their exclusive sounds to the fold. Recent album stars Skudge are as economical yet efficient as you?d expect with their booming ?Pollution,? before Conforce designs yet more lush sounds with his deep technoid cut ?When It Appeared.? Restless Romainian Cosmin TRG confounds expectationst again with his rusty, rolling cut ?Plaisir Interdit? before Fachwerk co-founder Sascha Rydell gets a little spaced out on his kinetic and melancholic effort, ?Rainy Days? Stand out on its own, but peerless when paired with the other three parts, Inertia 4 ends a special project indee

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Second release in a series of four of this Ann Aimee compilation series, featuring a diverse selection of techno tracks. Part two of the four-part Inertia sampler again serves up four heavy-hitting techno bangers from different artists of the new-school techno generation. Again, each of the tracks is previously unreleased. First up is Frenchman Marcelus who offers a heavy house and techno fusion, before London’s Sigha goes deep and ominous with ‘Finding Myself.’ Redshape and Area Forty_One close out the package with frozen, static coated sounds and textured techno respectively. Reading like a who’s who of the day’s most pioneering techno producers, Inertia #2 is another connoisseur selection.

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Delta Funktionen delivers his third and final part of his Setup series. More freaked, frantic and robotic as ever before.

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Delta Funktionen delivers his third and final part of his Setup series. More freaked, frantic and robotic as ever before.

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