Koehler opened into the hill a spacious wound and digged out ribs of gold. This is his second o?ering for the ESP Institute. Side A, behold a wonder! They but now who seemed in bigness to surpass Earth's giant sons, now less than smallest dwarfs, in narrow room throng numberless—like the conjurers of Light Magic beyond the Tuscan mount; or faery elves whose midnight revels by a forest-side or fountain some belated peasant sees, or dreams he sees, while overhead the moon sits arbitress, and nearer to the Earth wheels her pale course: they, on their mirth and dance, intent with jocund music charm our ear; at once with joy and fear our hearts rebound. Such place eternal justice has prepared for those rebellious; as far removed from the rave and light of a sunrise set as from the centre thrice to th' utmost pole. Oh Side B, how unlike the place from whence they danced! There the companions of the artist’s departure, o'erwhelmed with ?oods and whirlwinds of tempestuous ?re, he soon discerns; and, weltering by his side, one next himself in power and next in crime, long after known at the ESP Institute, and named Koehler. If he whom mutual league, united thoughts and counsels, equal hope and hazard in the glorious enterprise joined with me once, now misery hath joined in equal ruin; into what pit thou seest from what height fallen: so much the stronger proved he with his thunder; and till then who knew the force of those dire arms. Farewell, happy ?elds, where joy for ever dwells! Hail, The Grand Illusion, receive thy new possessor—one who brings a mind not to be changed by place or time. These two songs will sit you dove-like brooding on the vast abyss. TRACK LISTING: A. Light Magic,, B. The Grand Illusion
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Koehler was hurled headlong flaming from the ethereal sky. This is his first offering for the ESP Institute. Side A recalls the hazy memory of an ear-worm chant heard over a decade ago on the streets of Thailand, a melody that since haunted the artist and has finally been exorcised by his own hand in the shape of 'Melencolia V'. Somewhere between an enchanted bashment and a sailor’s watering hole, Koehler found a gargantuan kick drum that lands solely on the 4, slammed it together with a wide pulsing bassline and brutalized Dancehall snare, then laced it all up with his elusive synth melody. Add to this a generous sprinkle of finely-ground cosmic dust and we’re all tripping the light fantastic. On the flip side, the artist buckles up for a rough and rapid-paced journey with 'Invidiosa' — a relentless snare scrapes, gouges and corrodes over 7 minutes, coupling with a simplistic bass loop and swiftly marauding through a demented assembly line, accumulating various nuts and bolts of instrumentation along the way — an undeniable dancefloor exciter for those hours when the club becomes unhinged, dancing becomes raving, and slightly more audacious folk can channel their inner truth. These two songs will have you question your existence. More

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out of nowhere white label on Skudge... More

"Logos leaves the weightless sound for a minute and cooks up a stew with ingredients as tasty as the Bloom era Aardvarck white labels, Shed as Panamax Project and Wormhole era Ed Rush & Optical sound design. Ossia delivers one of the heaviest remixes of the year, taking the ice cold grime sensibilities of Eska and infusing them with the militant sound of early Aba Shanti I on that Jah Lightning album. Soundsystem music at its best." More

On his first release for Berceuse Heroique, Rotterdam's finest DJ Overdose meets one of the strongest producers of Detroit, Mr. OB Ignitt. Overdose creates the best soundtrack for a "march of the robots" scene with Dead City. The mighty bounce of early Dr. Dre productions meets some nasty electro carnage. On Sorry To Disappoint you can hear the classic West Coast electro sound of some of his older releases mixed with some funky sci fi synth lines. Then, OB Ignitt takes this monster of a tune and creates one of the gnarliest house tunes of this year with a proper G Funk bassline that will properly test your sound system on a good night.
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Morah's first release came from Helena Hauff's Return To Disorder label and this time the Athenian producer takes the same techno and electro sound and goes completely berserk for Berceuse Heroique. Morah creates some huge waves of feedback on Anarchy, which sounds like a techno version of Metal Machine Music, then he takes the old school Viewlexx sound and makes it even more confrontational, on You Said No and Impasse. Looking Back is a beautiful, melancholic - but still very dysfunctional - version of the death of a rave. One of the strongest points of this new producer is that his music sounds like the city of Athens right now: Raw energy mixed with manic depression and pessimism. More

Florian Meyer back on BH, with ten minutes of gamelan psychedelia, subtly and tensely minimalist as Terrence Dixon at his best. On the flip, Dresvn takes more of a beeline to Detroit, fuelled by submerged classics like UR’s Coinochime — cosmic, but deadly and unsettling. (‘Gammel’ means ‘junk’, in German. Maybe Magellan the explorer permeates that title, too, going round in circles in the East Indies, giddy and gammy below decks, amidst his trophy exotica.) Warmly recommended.

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Japan Blues strikes back with another set of edits. Meticulously picked, chopped up, and ready to go for the after hours crew.

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The forever under-rated MB steps out on BH — after illustrious releases everywhere from Mathematics to Creme — with this gorgeous fifteen-minute epic, evoking the glory days of Carl Craig. On the flip, Specter from Sound Signature draws the dancefloor in deep.
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