Moritz Von Oswald Trio - Vertical Ascent (2009)

ARTIST`````Moritz Von Oswald Trio

ALBUM`````Vertical Ascent

GENRE`````Electronic, Experimental, Techno, Live

YEAR````````2009

Album review from RA

Round these parts Moritz Von Oswald is the proverbial no-intro needer. Not only did his '90s output have an almost inestimable influence on a generation of dub techno heads, but his continued public presence as an electronic music impresario keeps this from being forgotten. How many times have you read a dub techno review that references Basic Channel? Here in jazz-band leader form the man heads up own trio together with Max Loderbauer of NSI and Sun Electric, and Sasu Ripatti, AKA Luomo, AKA Vladislav Delay.

The culmination of several years of live shows, Vertical Ascent is an utterly compelling and complex release, seamlessly fusing organic free-flow improvisation with the pristine electronic palette you expect from von Oswald. The four "Patterns" here follow a generally dub-like structure, where a relentless patter of midtempo percussion provides the propulsive counterpoint to heady, diaphonous atmospherics. The languid churn makes for workday ambiance, the mesmerizing fluid textures make for a repeat-listening delight.Since the focus is on exploring a restrained set of sonic possibilities, it's perhaps best to view the four tracks here as a group of variants rather than discrete compositions.

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Intrusion - The Seduction of Silence (2009)

ARTIST`````Intrusion

ALBUM`````The Seduction of Silence
GENRE`````Dub Techno, Ambient,
YEAR````````2009

Who?

Written by Todd Hutlock
Though individual highlights abound on The Seduction of Silence, the album works best when taken as a whole, an endorsement of Hitchell's vision for an expertly paced and executed album that raises the bar on the dub techno game to stratospheric levels. You'd be hard-pressed to find a better winter warmer than this; remember it with warm thoughts when winter returns later this year, when it's time for year-end polls.

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If you like this you should check out the "Submerged" compilation:)

V.A. Bleeding Techno Series 03 - Submerged (2010)

ARTIST`````VARIOUS
ALBUM`````BLEEDING TECHNO SERIES VOL.03: SUBMERGED
GENRE`````DUBSTEP, IDM, TECHNO, MINIMAL, AMBIENT
YEAR````````2010

INFO
Just realized that the word techno may confuse people who are actually looking for pure genre-techno. Anyways, this one is very different from the previous two. It is strongly based on dubby, atmospheric and mostly very minimal tracks (some 12 mins long) so try to take it all in one listen. No hard grooves here, just very carefully produced tracks with a maximum attention to detail and booming sub basses. Also, this is the first time I am posting some dubstep music:) It may be just a few tracks but it's a start.

I hope you enjoy this one.

TRACKLIST:
01 Thomas Brinkmann - Spiral (2008)
02 Trentemoller - The Forest (2005)
03 Christian Loeffler - Chord (2010)
04 Maurizio - M07B [Unreleased Mix] (1997)
05 Jan Jelinek - Tendency (2001)
06 Robert Henke - Cyrus Canyon (1997)
07 Rechenzentrum - Vertikal (2001)
08 Monolake - Remoteable (2001)
09 Recue - Punpuli (2010)
10 Burial - Distant Lights (2005)
11 Yagya - Snowflake 1 (2002)
12 Basic Channel - Octagon (2008)
13 Decoside - Storm Slowly (2008)
14 Marko Fürstenberg - Reactor 3 (2008)
15 Moderat - Nr. 22 (2009)
16 Intrusion - Twilight (2009)

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Rob Bardini - New Perspectives (2010)

ARTIST`````Rob Bardini
ALBUM`````New Perspectives EP
GENRE`````Dub Techno
YEAR````````2010

What?
A good dubby-atmospheric techno EP.

Some Info
Roberto Bardini is a deep techno producer from Turin (ITA). He's amongst the few enlightened producer/djs who "declared independence" from the current minimal-techno mainstream. His musical approach is by all means deep, and through this he casts his vision of a more mature and alternative dancefloor.
Well known alongside labels such as Shyan Music and Plastic City, in 2007 starts a collaboration with Eclipsemusic and this is his second apparence named "New Perspectives EP" features a slow-motion deep house vibes especially "Through Together" amazing synth texture running on pads pattern in classic Rob's style deep as the ocean, music with soul and appropriate track for sunset landscapes and beach time dancing, the titletrack "New Perspective" is more techno oriented production with dub style chords and raw clipped bass, a new form of dub techno music better for dancefloor situations.



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D. LISSVIK - 7 TRX + INTERMISSION (2008)

STUDIO'S DAN LISSVIK SOLO PROJECT
ARTIST`````D. LISSVIK
ALBUM`````7 TRX + INTERMISSION
GENRE`````EXPERIMENTAL, DUB, FUSION, EASY
YEAR````````2008

FROM:
This album was recommended by Alisa from Norway.

ALBUM REVIEW FROM RESIDENT ADVISOR: As half of Sweden's foremost Balearic revivalists Studio, Dan Lissvik's already well known for poolside dance music that's more horizontally than vertically designed. But where Yearbook 1 and this year's remix collection Yearbook 2 found shape around the duo's bouncy, dub-infected rhythms, Lissvik's debut solo album 7 Trx + Intermission is, fittingly, more a one-man quest: a work intent on musically recreating a sense of beatific solitude. Without vocals and with track numbers over titles, Lissvik foregoes Studio's emphasis on trance-clatter and repetition. In their place are rippling Factory Records guitars, the barest rhythms and a decidedly Eastern-influenced spiritualism, making for an album that nurtures the spare and serene. He draws shapes and symbols in the sand out of lean, serpentine guitars, each open to the listener's angle of sight. Without partner Rasmus Hägg's synth shading, Lissvik's imagery is fit more for the desert than the beach, designed around great clean spaces without people or moving things to distract, just sound and silence in an odd tandem. Despite the emphasis on his ruminative side though, Lissvik hasn't completely neglected his band's taste for big-eyed joy. The album's longest excursion, "A3," shifts from boat holiday guitars into a breezy freeway spin atop hand drums and brawny bass, while "A4" makes easy Saturday night disco out of electronic piano and jaunty wood-cowbell rhythms, a kind of polyester anthem as cheap and delightfully fruitful as its opening chords suggest. "B2" best resembles Studio's knack for the hypnotic strut though; Lissvik filters quiet Eastern tones into a wanderer's dance jam, alternating the dim and contemplative with a more open-collared bass heavy approach. But it's clear that Lissvik's relying on open-vista psychedelia to carry the mood for most of 7 Trx + Intermission. "A1" turns a Spanish guitar intro into a curtain parting for a Sergio Leone film—one of the tense train depot scenes before all hell breaks loose—while "A2" is dressed in enough vague mysticism and candle-lit ambience for an early Doors track. "B1" makes for a kind of mystical Bazaar interlude, swapping out Villalobos' ethnic playgrounding for more solitary spoils. Blending tropical bird noises and what sound like sampled hand-drum patterns into a calm morning alarm that might gently coax you from your sleep, it's "B3" that generates quite a spell for such short length. For a member of a band that's always relied so heavily on the intoxication of repetition, this assured short-form design sometimes feels like a welcome new direction. After all: Yearbook 3 is probably still at least a year away. While we wait, Lissvik's solo debut marks not so much a holding pattern as a distraction well worth our winter attention on its own.

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