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Dekmantel regular Matrixxman returns with the third, and final instalment in the Sector series, Part III: Polyphony. In this triptych, the producer from San Fransisco sets out to highlight the key components behind the sounds and style of techno, exploring the range within the confines of a particular limitation. Following Parts I and II, which looked at Rhythm, and Acid, Charles McCloud Duff charters the realm of Polyphony with four, meticulously produced techno tracks, expanding his repertoire of cult, dancefloor music.Polyphony refers to the simultaneous combining of many notes in a musical sequence. In electronic music, this specifically refers to the role of the synthesiser - such as the Minimoog, ARP Odyssey, which can produce different pitches simultaneously. Polyphony has been an integral characteristic of the genre's sound for over a quarter of a century, and can be heard in many key records, living a the sonic forefront of these four tracks. 'Sector Series: III Polyphony' provides an exercise in melody and polyphony. Throughout the EP, swaggering rhythms are inter-washed with a sea of multi-melodious, reverberated notation. 'Initiation' resonates with the grandiosity, and harsh claustrophobia of early Underground Resistance. 'Access Granted', drives hard with pulsing effects, with a dystopic, rhythmic cacophony of euphony. 'Desert Planet' plays around with a differing tempo, imagining a more fantastical vision of music, echoing back to earlier Plastikman productions, using a vast sonic spectrum to conjure up a colour palette of alien imagery. 'Horizon' rounds things off; a track that builds on minimalism with a progressive composition, allowing the polyphonics to drive the track, harnessing the adept production qualities that Matrixxman has come to be recognised for.

For the first release of 2018 we welcome Harry Wolfman to the Outplay family!
Having followed his work for the last couple of years we're very happy to have him deliver this varied 4-tracker, which very well might be some of his best work to date.

The A side starts off with 'Hitch'. A warm and dusty groover driven by rhodes, a rubbery bassline and a thudding kick. A lovely string piece in the middle of the track slowly builds up to the break for it to return to the head nodding groove soon after. The added percussion gives it a nice lively feel as well.

'Pigs in Blankets' sets the pace a little slower, but the funk goes on. The track incorporates 80's style samples with some excellent synth and chord work. Perfect for a warm up session.

Starting on the B side Harry takes it up a notch with 'Nemoto', which will be a definite stomper for the dance floor. It takes you on a 9 minute journey of rolling bumpy basslines, screaming distortion leads and hypnotising synth work.
Finally, to ease things off, STS-136 (Final Call) comes in at a slow 88 bpm pace as a perfect closure to the EP. Dreamy pads, piano licks and a calming marimba melody combined with a beat which feels like a warm blanket will make you wander off for a moment...

Jonra & e:machinery are an electronic music performance and
recording duo comprised of long time Los Angeles based Designforms
Research label boss Jonra Babiracki and electronic music artist Eric Cowden aka e:machinery.

Combining analog hardware, software and processed vocals in a live performance setting, their music spans many styles including techno, house, acid, darkwave, and electro. Their improvisational technique results in tracks that twist and turn, keeping the listener's ears perked while always encouraging the dance floor. With releases on Designforms, Blaq Records, Superfreq and now Chem Club, this veteran duo plans to continue on their path of proud abnormality.

Frenzied and unhinged, the Ritual Casting EP by Jonra & e:machinery is the third vinyl release by Oakland based label Chem Club Records. The title track, Ritual Casting, coils into a bottom heavy head spinner that takes a left turn towards the end. The second A side track, Take A Trip, is indeed just that, a roller coaster ride using their signature vocal style paired with classic bass and percussive sounds. The DJ friendly B side kicks off with Douchebag Frog, a bubbling bass sequence centered track with pad stabs that get bounced around by those eerie vocals again. Lastly, Catch Me If You Can, with a heaving acid bassline, is a sure way to end the EP with a bang.

Fausto Messina is a veteran dj and producer from Treviso, a small town on the plain between the Gulf of Venice and the Alps. Fausto has been releasing music for more than 10 years and 'Pica Pica' is his debut E.P. on Cadenza. In the track named 'Pica Pica' a recurrent evocative voluminous chord is convoyed by a classy powerful kick drum and an organic symphony of fluffy percussions and metallic bonks, with a triumphant layer of dense whistles and shimmering cymbals. The extremely intense vibrant rhythms of 'Idiophono' contrast with the gentle reverberating harmonies of an ensemble of struck idiophones, angelically flowing in the background of the track. The smooth magnetic flux of 'Planets Ballet' concludes the E.P. with high style. This jacky stride over a stack of steamy synthesisers and bubbly bleeps is a golden tune for a quivering late-night dance-floor.

For this release Metrist delves into a set of carefully constructed and deeply rhythmic but ear-grabbingly idiosyncratic, mixed fidelity dancefloor-geared oddities.

The first three tracks are united, in a fashion, by the artist's skill at programming a series of drum tracks that set a definite tone for the productions. Within a quite partisan field of often microscopic generic variety, largely pinned down to the tempo and timbre of electronic drums, here Metrist has pursued a tricky-to-define path. The bounce of new jack swing is twisted amongst stripped back polyrhythms, equal parts groove and glitch seasoned by some futuristic acid filters that create a constantly shifting aura of space and textural nuance around the individual drum hits. Quite often arrhythmic interjections punctuate these 'grooves', be it the sawing bursts of noise and snarled, incoherent vocals on 'An Soaep', the non-language and playful, bubbling bass surrounding the half time feel of 'On Golden Seize' that builds to something approximating an industrial take on UK Funky or the brash sub-wobbles that intrude 'Pantomimer Tongue's juddering knife-scraping-on-a-balloon stutters.

'Caaacel the Horze' closes the record in a less weighty style, with crunchy arpeggios running on a synth that sounds like it's picking up interference from a radio channel, as snatches of moaned vocals allude to a deeply ambiguous yet chilling narrative behind the music. Thudding kicks intrude on the skittish melody but in a non-rhythmic way reminiscent of someone trying desperately to snatch your attention by banging on the adjacent wall. Gauzy melodic textures in the background provide a calming counterpoint to the uneasy qualities of the composition.

The title track "Empty Dancefloor" combines a thumping kick drum, stuttering hats and mesmeric chords, a combination that prove to be the perfect backing track to a captivating synth solo. It's extremely difficult not to find yourself lost in this enchanting track. Fracture" is a track where Skygaze really showcases his ability to combine broken beat, complex drum patterns with bewitching chords, magical marimbas and a curious bassline.
It is a track that really keeps you guessing throughout and one that can really add variety to any DJ set.
First up on remix duties is Jonna, who has put his own stamp on "Empty Dancefloor".
jonna is a DJ, Producer & one of the Label owners of City Fly Records, his sets are prominently House but take in influences from Disco, Techno, Hip-Hop, Funk, Jazz... Basically any music with Soul.
His first artist EP dropped early 2016 on 'Shadeleaf Music' & featured the incredibly talented Erik Rico on vocals with remixes by Atlanta's Kai Alce. The EP achieved great success & Sold Out in the first Month & was supported by heavyweight's Recloose, Derrick Carter, Jimpster & Osunlade to name a few.
Collab Singles (with Samwell) 'Henry Western' Featuring Lady Blacktronika followed on City Fly which was supported heavily on BBC 6 Music, that followed by 'Alright' on 'Future Society', a compilation curated by Seven Davis Jr on R2 Records and more recently the Luke Soloman Edit of 'Through The Night' again on Shadeleaf Music.
He has been busy in the studio since with a release on Secret Crunch (Austria) & 2 EP's forthcoming on Marcel Vogel's excellent Intimate Friends (NL).
The remix of "Empty Dancefloor" is one that is done in the unmistakable Jonna style, it's got groove! By chopping and changing the chords from the original, Jonna has created an entirely new melody, which when combined with rolling bongos and punchy bassline, you can't help but tap your feet.
The all too familiar synth solo from the original resonates throughout and pulls the track together, creating a guaranteed hit on any dance floor. Last, but certainly not least is Chicago based, Garrett David. The Smart Bar Resident has taken time out from his A&R / House buying duties at the famous Gramaphone Records to conjure up a bumping, yet dreamy remix of "Fracture".
He has previous releases on labels including Distant Hawaii, Residual Recordings, Night Sea Journey as well as his own imprint Stripped & Chewed and has really brought some Chicago flavours to the table with this one.

The Make Mistakes ethos is one of diversity and evolution, and that is showcased in full on our newest vinyl release Need Your Luvin'. House, Acid, Techno, Roy England, Jarvi, Fredy Grogan. One track, three styles, all dance floor bounders.
Roy England's original mix is a jackin' house jam with a timeless vibe. A classic house sound propelled forward by the titular vocal sample, England manages to deliver a track that would work equally in the lounge, as well as late night in the big room.
On the B side Jarvi's Acid Workout strips the original down even further, and fills it back up, with a wandering, hypnotic acid line to stitch it all together. An old school party sound, both familiar and fresh. Fredy Grogan deconstructs the original into its component parts, building it back up into his dark, and driving dub techno remix. Drawing it out over nearly 8 minutes, this'll have the heads bouncing off the walls.

House, Acid, Techno, pillars of dance music, mixed together, given the ol' razzle dazzle, and served up hot and ready for mind, body, and soul. Grab Need Your Luvin', stick it in the crate, and never worry, because you'll always have the Luvin' you need.

'Beware the irrational, however seductive. Shun the 'transcendent' and all who invite you to subordinate or annihilate yourself. Distrust compassion; prefer dignity for yourself and others. Don't be afraid to be thought arrogant or selfish. Picture all experts as if they were mammals. Never be a spectator of unfairness or stupidity. Seek out argument and disputation for their own sake; the grave will supply plenty of time for silence. Suspect your own motives, and all excuses. Do not live for others any more than you would expect others to live for you.'

---Christopher Hitchens, Letters to a Young Contrarian

"Fresh off the back of his debut EP '2nd Nature', which received support from Seth Troxler, Laurent Garnier, AME, Maya Jane Coles, Archie Hamilton, Mano Le Tough & Damian Lazarus, DOKTA returns to 20/20 Vision alongside the dance music and audio obsessive 'Leonidas' who's been topping the Juno vinyl charts recently with his releases 'Kay Suzuki' and 'Hobbes'.
The uncompromising 15-minute composition merges DOKTA's unique electronic arrangement style with a transcending live saxophone melody and an original vocal recording of NYC's Paradise Garage and Loft regular David Vickers, with a spoken word tribute to Dave Mancuso and his legendry Loft residency, recorded before the great mans passing last year.
Structured with a driving kick, off set drums and rhythmic keys 'Baby Powder' proves once again DOKTA refuses to work within formalities, offering up a release that is both truly unique and impossible to ignore.'Baby Powder' sees DOKTA continue to push the boundaries of electronic production, effortlessly compounding live elements that explore exciting new musical territories.

'Lam San Ra', arranged by Maft Sai and Chris Menist As a precursor to their forthcoming LP in 2016, the Paradise Bangkok crew let fly with this latest molam disco excursion, that was written on last year's tour !
Spaced out khaen and trippy phin lines fly over the heaviest of grooves, continuing the 21st Century Molam project in fine style.
Side B 'Version' Dub by Nick Manasseh With Nick Manasseh back on dub duties, the tough bass and drums come to the fore, peppered with dashes of echoed out phin and percussion. A next level session for the more discerning dancefloor!

Beyond being a quality mixture of unusual dance tracks and unique electronica, XYXX is a conceptual body of work whose themes of sex, race, unity and destruction reveal themselves to those listening closely. XYXX is the first collaborative album between Berlin based electronic producer NYMA (Nima Chatrsimab) and Toronto based, Detroit raised vocalist Noisy Vibration. Sitting somewhere in between house, techno and electro, but with honest pop sensibilities, the record is a push-and-pull of ideas, highlighting each artist in distinctive and mesmerizing ways. The Berlin-via-Tehran musician, DJ and sound engineers melting-pot influences and wealth of experience are the perfect vehicle for Noisy Vibrations piercing lyrical style. He lets her do the talking, while delivering a powerful message of his own through more subconscious means. From the opening refrain the dialogue begins, angelic tones embrace you with open arms. Noisys lyrics speak to NYMAs colourful beats and masterful sound design, connecting to the moment and full of unexpected turns. XYXX is an album that is both spontaneous and carefully considered. With XYXX, the ride is completethe DNA whole.

Nandu returns for his 2nd release on connected with another unique pair of tracks , the first an african influenced song with the mesmerising vocals of Oluhle , the second a 909 style acid dark dancefloor workout.
1. Nandu & Oluhle - Umfazi Omuhle (Original Mix)-
A gentle almost cautious arrangement building slowly and ethereally with a beautiful selection of sounds and an african influenced Nandu rythm with shakers and claves providing an original feel and leaving space for Oluhle's moving vocals.
2. Nandu - Another Jam (Another Acid Dub)-
A more aggressive,upfront side from Nandu. for the intense spot of the night with twisted groove of claps and percussion, heavier in the lows with a proper 909 kickdrum with the acid line coming in half way through..... hot.

Masterworks Music returns with their illustrious 10" vinyl-only brand, The Masters Series. Stepping up to handle duties on this fourth instalment is none other than Tel Aviv's own Obas Nenor.
Having made waves with his previous outings for Defected, Heist Recordings and his own label, Nenorian, not to mention EPs for the likes of Strictly Rhythm, Mahogany Music and a slew of 12's for Whiskey Disco as half of Rabo & Snob...let's just say the man gets around! Now unleashing his 'Weirdo disco' style on Masterworks Music Here, he packs his studio creations win a tidy, 10" format with a double-header with "Candies" on the a-side and "Stay" holding down the b-side. 'Candies' offers the perfect counterpart with a shuffling, low-key vibe. Every much as danceable as the flip, "Candies" pairs jangling guitar riffs with vocoded rhymes and more undulating vocal snips. Clavinets dripping in wah-wah wackiness keep the mood light and funky and recall the glory days of acts like Faze Action and Crazy P.
Flipping over to the B side 'Stay' wastes no time getting down to business with wonky, percussive intro that launches head-first into a stomping Moog-bass groove. Layers of vocal samples undulated and punctuate the rock-steady disco beat while chords and claps get the hips shaking.
Cracking' tackle for any modern disco head, these are sure to blaze up the night!

This new label from Toronto is a thrilling prospect. Its first release — a five-track EP — is a warmly personal, yet cosmically-minded blend of jazz, funk, disco and Fett-style ambience, candidly pitched at the dancefloor. Lovely stuff.

Mastered and cut by Rashad Becker at Dubplates & Mastering in Berlin.

Hana's first and self-titled LP was recorded in Autumn 2010 at Facta non Verba and consists out of 5 tracks which are techno oriented with disposal of experimental and abstract elements.

Reviews

OMG Vinyl
Hana s S/T LP is easily the best promo records we ve gotten in months. This Greek duo has somehow, almost entirely below the radar, released one of the most exciting electronic records of 2011. Their wobbly brand of techno sometimes chugs ahead at full-speed, other times easing back into a wider waver, almost resembling some weird, warped IDM. I will be shocked if this record doesn t get wider appreciation very soon. Whether that happens or not, we fully recommend it, track one down.

Cyclic Defrost by Oliver Laing
Granny Records duo Hana come correct with their first album, offering a refreshing take on techno and IDM variants in the vein of Jan Jelinek, Raime, Actress and hints of the mighty Chain Reaction label. Mastered at Berlin s Dubplates and Mastering by none other than Rashad Becker, a name that often appears in the run-out groove of artists who inhabit a curiously funky techno-not-techno netherworld Hana s debut self-titled release grows in stature and listening enjoyment with every spin. With a sense of fun and adventure inhabiting the grooves, Hana (who are also part of label-mates, Good Luck Mr Gorsky), explore experimental timbres and ghostly vocalisations with a lightness of touch that belies their recording credentials.

Starting off with an abstract, Clicks and Cuts style intro, Liv slowly finds the sweet spot between mutant Detroit electro funk, a hint of the indie/dance territory of Matthew Dear and the abstract, yet rhythmic 12 releases on the Beatservice label, by Norwegian duo Information from the mid 90s. Obermaier implies the groove to begin with, until a wrong-footed man-with-two-left-feet rhythm leads into minimal acidic flourishes. Album opener SM heads in a Ricardo Villalobos vs. Nonplace Urban Field direction, as the lopsided rhythm and sepulchral vocals add a haunted edge to proceedings. CR80 uses beautifully syncopated live drums and urgent female vocals, and adds a driving, belligerent synth riff falling somewhere in between DMZ and Gary Numan. Echoic, boingy sounds threaten to derail the beat, but somehow it manages to maintain, reminding me of Shed and A Made Up Sound; more in overall feel than in the specific sounds. For those that enjoy abstract electronics that work just as well on headphones as on the dance floor, Greece s Hana are a duo to watch.

Textura
Hana's self-titled debut album arrives saddled with a (literally) cheeky front cover one would more associate with a 70s band like Wild Cherry than a Greece-based techno outfit formed in Thessaloniki last summer. Recorded in fall 2010 at Facta non Verba, the five-cut release finds Good Luck Mr Gorsky members Thanasis Papadopoulos and Thanos Bantis hunkered down in their chemical lab concocting formulae to go along with their material's stripped-down techno beats. Using analogue synths, samplers, and sequencers, the duo brings a decidely experimental edge to their productions, sprinkling as they do liberal doses of burble and flutter over bass-heavy techno rhythms.
The opening track, Sm, sets the scene with a heavy low-end pulse thudding alongside a steady kick drum and joined by acidy synths and percussive effects that suggest a lighter being repeatedly flicked open. On a slightly more aggressive tip, the B-side's Cr80 adds truncated vocal yelps to its bleepy, elephantine throb. A dubby dimension emerges in the track, too, when echoing waves drift repeatedly across the huge bass that slithers across the track's underbelly. The album's most elaborate track comes last. Liv opens beatlessly with flickering shudders and what could pass for the amplified workings of an ant community but then progressively fills in the dots with an insistent beat pattern, voice fragments, and even the demented meander of accordion playing. Though Hana hardly rewrites the techno guidebook on the release, it's nevertheless a pleasurable listen, in part due to the multi-dimensional experience provided by the vinyl format and the always superb mastering work done by Rashad Becker at Berlin's Dubplates & Mastering.

Paralysis met in Berlin last year. Two young guys hungry for life, living together in a small room. Sharing pizza and gear. Both are gifted with great skills when it comes to production of Techno music. Cesar Mendoza is doing awesome with melody composing, Max Schroeder loves sounddesign. Both are hitting the individual spot of our DUAT sound idea and when we heard their first steps in making music, we knew they need to become family soon. So we shared our studio with them in the summer and helped them to develope their own style and our vision of innovative dance music, detached from repetitive Tech House and Deep House trends. We are proud to pre-sent the very first released record ever by Paralysis and the collab between our label owner Amin Fallaha.

Masaki messaged Blueberry Records Soundcloud and signed an EP within a week. I guess sending demos is still a thing.

The concept of the EP is to demonstrate all the colors in Masaki's rainbow. A truly gifted studio engineer, there are many styles in which he moves across the mixing board.

Ark and Blessing are pure sound design ticklers. As if he decided to make an updated Blue-Ray instructional soundtrack. Soaring melodies and sub bass anchors the listener is literally pinned done by the pressure and beaten with an ugly beauty unique to Masakis style.

Dolci and Ilah both radiate on the dance floor like lost dark rollers from an updated mid 90's

Estelia and Fraewnuil demonstrate the beautiful thoughtfulness Masaki also possesses. Like a hidden runout groove, Masaki leaves the listener pensive and wrapped in a warm embrace.

D x

The superb 'Forbidden Planet' is a shiny early electro cut with a great funk bass line, a real instrumental groove and fantastic melodies that shimmer like a hot sun. It's filled with joy and sounds as fresh today as ever, the way it ducks and dives and offers real warmth.The Francisco Remix keeps the funk vibe but changes the groove to be a more Chicago house style cut. As such it has a rasping bassline, big drums and coarse percussion that make you want to jack.The masterful Ali Renault—a go-to disco and synth specialist who runs Cyber Dance Records, Human Shield Record Company and most recently his own Vivod imprint—then turns out a hypnotic version that is more driven and direct for the dance floor, with robotic bass and epic reflective synth lines. It's a cinematic track with great analogue textures that goes back to the future.The last original is the excellent 'Stay With Me', a cosmic love song with breezy trumpets and dreamy disco vibes as well as soulful vocals. Italo melodies and infectious percussion finish it off and make it an instant crowd pleaser.

It's no exaggeration to say that Geraldo Pino and his band the Heartbeats kickstarted the whole soul/funk/afrobeat scene in West Africa. Mixing highlife, funk and jazz, and using the latest equipment, they laid waste to all before them. In 1966 Fela Kuti was a jobbing musician, eeking out a living with highlife bands. When Gerlado Pino came to town, it changed his life. Pino tore up the scene,' he recalls in an interview with Carlos Moore. I knew I had to get my shit together. And fast!'. Produced by Odion Iruoje and engineered by Emmanual Odenusi, Let's Have A Party is Geraldo Pino's masterpiece. It's slick and heavy, tough and uncompromising, with musicianship that will blow your mind. It's all killer, no filler, with 'Heavy Heavy Heavy' and 'Let Them Talk' bonafide, nailed on funk classics. The Heartbeats are exactly that, a tight and efficient engine that keeps the groove moving. This is US-style funk, with an emphasis on extended percussion workouts and organ wigouts. You can't listen to 'Power To The People' without being impressed - or compelled to dance. The extended call out to each Heartbeat in 'Let's Have a Party' is well deserved. If my house caught on fire, this is the one album I'd rescue. After one listen, I reckon you'd do the same. - Peter Moore

Purveyors of enigmatic dreamscapes and organic, danceable electronica, Leeds-based, electronic-soul quartet Noya Rao are set to release their debut album, Icaros, this November. Founded by producer Tom Henry (Cosima, Yellow Days) Noya Rao was originally conceived as a solo production project with a separate live band representation. Alongside bassist Jim Wiltshire and drummer Matt Davies, whom Tom had met playing in other bands within the Leeds music scene, the project grew to become a collaborative effort mixing Tom's production ideas with the attributes of Jim's unique bass synth lines and Matt's polyrhythmic beats. Their compositions drew on the influences of jazz, hip-hop and electronic music whilst incorporating the sounds of the bass-heavy-dub music synonymous with the Leeds music scene. Their sound really came into focus when they met vocalist Olivia Bhattacharjee who brought her gospel style and complex choral harmony to the band. Developing from raw, psychedelic improvisations, their sound became more defined and minimal, underpinned by live instrumentation and more structured song writing. This co-existing electronic and organic thread gives the band a strong identity and their powerful live show sets them apart from other producer-led bands. Matthew Halsall from Gondwana Records saw the band perform at an intimate show in Manchester in 2016 and blown away, signed the band on the spot.

Icaros takes the listener on a journey through the band's unique sound-world amplified by Tom Henry's bold and inventive production techniques. Sometimes fragile, sometimes raw and visceral the album opens with the ethereal Azimuth. It's contrasting sections and mysterious chords offer echoes of the band's instrumental beginnings whilst the repeated vocal harmony layers at the end demonstrate a signature feature of the new Noya Rao sound. Moments is the first tune they wrote together and reflects upon taking joy in the everyday: the opening womb-like chords are another distinct sound of the band. The gritty Golden Claw describes the effects of a manipulative heartbreaker, it's darker, more driving and has a ruder '80s flavour. Midas demonstrates the band's use of linear structural forms and complex rhythms influenced from around the globe. It tells the story of someone who, led by greed, made some regrettable decisions. The atmospheric Dreaming Part 1 and Part 2 are sumptuous dreamy soundscapes. They were born from the same epic improv-based writing sessions as Fly, which has a trippy disco vibe, offset with wonky chords and crunching vocal harmony. The hook-led I Feel points to future ventures for the band: mixing their electronic textures with a more formal song-writing approach. A sublime slice of dreamy space-jazz, Same Sun Will Rise, finds Olivia contemplating mankind's utter selfishness and a desire for change, "Over borders we've assigned, same sun will rise'. Minimal and spacious, This Time demonstrates the merging of ethereal edginess and delicate songwriting. It is this combined with their electronic and live approach and more than a hint of Leeds attitude that gives Noya Rao their unique sound.

Although Rico Puestel has been producing since 2005, he still seems to be something of an insider tip. Since 'Caravel' though, his August release on Cocoon Recordings, things have taken a dramatic turn with Puestel currently enjoying 'man of the moment' status, especially when it comes to progressive techno and peak time action on the dance floor."973 picks up exactly where 'Caravel' left off, kicking powerfully with irresistable, effect-loaded breaks that really twist your melon. This one really works you over but there's also feeling and a touch of elegance, in fact we can't remember hearing anything like this since Len Faki's Dustin Zahn Remix! '973 proves that 'Caravel' was no flash in the pan, just one tantalising glimpse into the musical world of Rico Puestel and that's not the end of it..."272 is a little more stripped down and chilled to start with, but soon opens up into the same crazy atmosphere as '973. This is dominated by an up-and-running arpeggio synth, which combines with the now familiar effects-break motif to create an incredible hypnotic effect. A little less brutal than '973 but drenched in more reverb, '272 is something like 'kicking Deep Techno' with a nod to the Tech House corner in the style of Mark Broom or Joris Voorn. Mr. Puestel serves up two choice cuts here and there's no question that 973272 will be with us for a while. Buckle up, hold tight and off we go!