Wesenberg - Counterclockwise [Audiophob 036]

Put out on the circuit via the Jena / Germany-based label that is Audiophob on August 6th, 2k21 is "Counterclockwise", the second full length CD album produced for the imprint by Wesenberg. Backed by a long lasting history in the realm of electronic music covering a wide range of styles and genres over the course of 25+ years including releases on once famed imprints like Force Inc. US and Thee Blak Label Wesenberg's most recent album presents a total of 13 tracks rolled out over roughly 58 minutes in total, covering a musical range from the atmospheric - somewhat even psychedelic -, tripping and ever evolving Ambient / IDM structures of the opener "The Seed And The Soil" which immediately evokes memories of 90s electronic music legends like The Future Sound Of London at their very darkest to the subsequent "Digging In The Clouds" which explores a stripped down, slightly dubbed out take on minimalistic, yet highly detailed Techno vibes before "Salz feat. Eli Van Vegas" pairs mechanical, surely Brighton-influenced Techno abstractions with vocals reminiscent of legendary DAF lead singer Gabi Delgado and his undeniable sexiness. With this opening triplet paving the way for an eclectic mixture to come bits like "Ashes (+ Solo Plexus)" even explore hyperfuturistic genres like Industrial Grime on the fast lane, "Fan Fiction" weighs in more distinct sci-fi-infused polyrhythms building up towards a driving, somewhat 'troity variation of ever filtered and modulating Minimal Techno in its very 90s sense subsequently followed by the atmospheric high octane (Intelligent) Techno banger that is "Saliva Exchange - Felt Like A Kiss" whereas bits like "Ain't No Mountain High Enough" weigh in some deep, slightly glitched out and abstract ElectroPhonk vibes for highly advanced late night dancefloors just to name a few. Good stuff, this. Yet it is rather astounding that only a mere 20 years ago an album like this would've probably been released through one of the many thriving Electronica x Techno labels once distributed by a company like EFA and not necessarily by a label like Audiophob with its roots rather related to darker scenes like Industrial, Goth and the likes of. The times they are a changing. Go check.

Album artwork on Instagram!

Sebastiano De Gennaro - Musica Razionale [19'40'' 017 Promo]

Put out on the circuit via the subscription-based Italian label that is 19'40'' on April 17th, 2k22 as their seventeeth release is "Musica Rationale", the latest full length album effort by Italian composer and percussionist Sebastiano De Gennaro - and his his sixth album in total he provided for the label since it launched back in 2016. Referring to the idea of music in a broader sense than just being made up out of sonic events but rather being defined by its form, logic and structure De Gennaro bases the six compositions on this 36 minutes spanning longplay piece solely on the examination and so-called sonification of mathematical phenomena with each one and its properties being introduced by Fabio Punzo, Professor of Mathematical Analysis at the Department of Mathematics at Milano's Politecnico. Following this highly conceptual and intellectual approach and presentation the music of "Musica Razionale" is both highly abstract yet surprisingly fascinating and funky when it comes to the self-generating, advanced IDM dancefloor suitable "Congettura Collatz" whilst resembling dramatic exoplanetary Future Tribal in the subsequent "Lo Shu" whereas "12 Facce" provides beautiful, yet timid and skittish melodic fragments well suitable to accompany the entrance of any faerie or other mystical, yet playful, curious and friendly creature in a fictional audio-visual or probably even audio-only context. Furthermore the "Farey Sequence" oozes a certain uneasy and well uncanny vibe evoking future memories of the very moment before a large scale AI experiment starts to get out of hand and therefore fully gains consciousness, the "Ulam Numbers" present an ever meandering, never fully repeating set of sonic additions resulting in a fascinating, multilayered soundcape of polyrhythms which even evolve towards a somewhat jazzy audio narritave over the course of tunes total runtime before "Numeri Malvagi" turns the concept of symmetry and infinity into a crystalline take on mechanical, robotic ProtoIndustrial of sorts to provide a well thought provoking - and finally spaced out - piece for a closing. Fascinating. Recommended.

Masayo Koketsu - Fukiya [Relative Pitch Records Solo Series 011]

Put out on the circuit via the NYC-based label Relative Pitch Records on May 20th, 2k22 as the latest addition to their so-called 'Solo Series' is "Fukija", the roughly 47 minutes spanning one-take album by Japanese Jazz saxophonist Masayo Koketsu. With this album the 1977 born artist is digging deep into the long-lasting tradition of FreeJazz and Free Improvisation embedded within the Japanese scene, providing an ever intensifying stream of droning sax pulses, and swells oftentimes followed by extended periods of silence as a welcome counterpoint to the extremely detailed and expertly executed, yet intense and - for the untrained ear - partially draining high frequency screams unleashed from Koketsu's instrument which, over the course of the albums total runtime, slowly make way for more melodic and playful sequences, meandering around and exploring variations of their individual motifs and, more importantly, providing a musical straw to grasp for the uninitiated when it comes to Avantgarde Jazz. Defo an experts album, this, yet one that defies the boundaries of space and time through its specific structure and approach.

Album artwork on Instagram!

An Laurence - Almost Touching [People Places Records 033]

Put out on the circuit via Jersey-based imprint People Places Records on May 20th, 2k22 is "Almost Touching", the latest longplay outing by Montreal vocalist x guitarist x performer An Laurence who's been teaming up with a set of contemporary composers for the realisation and completion of this extended album effort. Rolled out over the course of a full 2CD set and a total playtime of roughly 97 minutes An Laurence works with and along the likes of Amy Brandon, Kim Farris-Manning, Elischa Kaminer, Shelley Marwood and Arthur Keegan-Bole to explore a realm of experimental contemporary composition reaching from the eerie, distorted and ever meandering electronic textures and tender floating piano lines of the albums opener "Artificial Light" to the stripped down (Neo)Classical minimalisms of the title piece "Almost Touching" which suddenly moves towards a more agitated and intense climax placing it more in an Avantgarde realm of sorts whereas the subset of seven pieces making up "Chants D'Amour" provides a range from Spoken Word to naturalistic, almost medieval bits as well as raw, gnarly and hyperintense synth sequences to be found in "Introduction" which is by far our favorite cut on this entire album alongside the intricately layered vocals and apocalyptic industrial transmission that make up "III Chanson Pour M". Furthermore pieces like "V Chant D'Amour" bring forward a beautifully dreamy and enchanted LeftfieldFolk attitude once again evolving into raw and heavy, EDM-infused offkilter synth drama and even Psychedelic Rock realms before "Reconciling Duality" weighs in some highly abstract, fragmented and minimalist Flamenco vibes for a change just to name a few. Defo one album which, even though at home in an Avantgarde-leaning realm, is accessible and comprehensible for a wider audience looking to explore further out on the fringes of experimental music. Check.

Album artwork on Instagram!

30.05.2022 baze.djunkiii presents Technovision Vol. 19 @ CuttersChoiceRadio / London, UK (2300 GMT+1)

Let dancefloor madness ensue. Coming in on a high energy tip for his second guest mix transmission in 2k22 to be aired via London-based webradio CuttersChoiceRadio baze.djunkiii provides a 60 minutes selection of high octane bang0rz which are about to turn your personal space into a personal rave x moshpit this Monday night - more specifically: on May 30th, 2k22 for all of you having lost track of week days a long time ago. Be prepared for an all vinyl menu comprised of banging Techno, heavy Bigroom vibes, bits of mainstream accessibility, Progressive x TechTrance and a dash of Acid and Tribal to round things of proper.

Transmission will start at 2200 London time which makes it 2300 GMT+1 for the rest of continental Europe and whatever time it is in your specific area. Get locked!

decks: baze.djunkiii [Intrauterin Recordings]

file under: Techno / Bigroom / Progressive / Acid

transmission starts: 2200 GMT+1

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UK + the global internet

Test Card - Patterns [Sound In Silence 090]

Rapidly approaching a three digit realm of releases the Greek label that is Sound In Silence put out "Patterns" on April 15th, 2k22 which is the first solo album produced for the imprint by Vancouver, Canada-based Lee Nicholson a.k.a. Test Card. With a total of ten tracks rolled out over the course of 46 minutes the long-standing Canadian artist and producer explores a path of stripped down, playful and highly melodic Electronica from the very first seconds of the even slightly Dub-infused opener "Return Parts Rewind" onwards which evokes distant memories of Tied + Tickled Trio's classic "Aelita" album, progresses into the deeply romantic piano driven "Days Like These Like Every Day" followed by the cute and friendly Indietronica / PostRock-affair that is "The Stockbridge Damper" which even sports outerworldy theremin sequences whilst bringing on folksy vibes with the well intimate, innocent and allover naturalistic "(Seventeen Guitars And One Piano)" and its strangely placed parentheses whereas piece like the most beautiful "Dream Fifteen" cater trippy, dreamlike Synth and (Neo)Cosmic flutterings alongside carefully layered guitar movements before the concluding "On Fluttered Folk And Wild" even lends itself to a lo-fi instrumental Indie / Singer-Songwriter aesthetic just to name a few. This one's ace. Absolutely top shelf music. Get.

TMR - Tuscany Music Revolution [Aut Records 081]

Scheduled for release on June 13th, 2k22 as cat.no. 081 of the ever active Aut Records label is TMR's "Tuscany Music Revolution", the latest album outing by the multi-headed Italian artist collective comprised of prominent names like Alberto Braida, Virginia Sutero and Ermanno Novali amongst many others. With a total of eight subsequently numbered pieces rolled out over the course of roughly 46 minutes, all recorded live throughout the ensembles artistic residence in Buonconvento. TMR explore a musical space located right within the grey area between FreeJazz, FreeImprov and what could be seen as a very broad take of what Modern Classical x Contemporary Classical music could be in 2k22, with this aspect being especially prevalent in the albums calmer, deeper and more melodic sequences with instruments and their individual lines of movement carefully intertwined, partially even dabbling with a certain kind of melancholia and x or romanticism for set intervals whereas other pieces drift off into a whirlwind of frantic, fever'ish percussion, provide complex, fascinating Jazz arrangements which bring on some Latin-influenced late night heat as well as highly dramatic and certainly cinematic movements in pieces like "IV" which might be our personal favorite on this entire album. If you're thinking about diving deeper into real time improvisation this longplay effort might provide a proper starting point due to its diversity and versatile execution.

John McGuire - Pulse Music [Unseen Worlds 036]

Released as CD format album via the Unseen Worlds label on April 29th, 2k22 with an accompanying vinyl version to follow up approximately in October is "Pulse Music", the first ever longplay effort to present all four parts of John McGuire's "Pulse Music" series containing of "Pulse Music I - III" as well the additional piece "108 Pulses" as a combined body of work. Written in a four years period in between 1975 and 1979, with two of the present realizations formerly unreleased and locked away in some archives until now, the American composer presents a surprisingly bustling, friendly, harmonic and accessible take on so-called 'new' music, Minimal Music and x or Avantgarde-leaning experimental composition techniques of the time, with "Pulse Music I" partially even resembling the feel and gravitas of organ-driven Church Music as well as the chiming tonality of the Baroque epochs cembalo soundwise despite being generated and assembled electronically whereas the subsequent "Pulse Music II" takes McGuire's serial compositional approach to a dense, athmospheric, dreamy and somewhat washed out level whilst employing a set of 'four pianos and small orchestra' to bring the pieces serial score to life. Furthermore we see "Pulse Music III" going back to a rather friendly, computational and rather retrofuturist approach towards chiming, meandering and ever so slightly varying layers of synthesized sounds following the series trademark feat of sudden switches and changes in pace within the piece without providing too much of an interruption to the overall flow before the final "108 Pulses" might, in hindsight, be as close to ProtoAmbient music as one could've ever gotten back in 1975 and therefore is of historical importance for an entire genre to follow decades later as well as it is our personal favorite on this longplayer as well. Check.

Album artwork on Instagram!

Le Un - Le Havre [UnRec. 211]

Put out on the circuit on May 1st, 2k22 via the French imprint that is UnRec. is "Le Havre", the latest album effort conceived by the large scale ensemble that is Le Un, a cooperation comprised of 24 - !!! - active musicians x instrumentalists which provide a set of five pieces over the course of roughly 65 minutes, all of them named "Unite Nodale" with an additional, yet not subsequently provided, numeral attached to the actual piece. Employing a wide range of instruments including accordeon, electric guitar, alto sax, electric guitar, voice, rotating surfaces, electronics and more the musical universe of Le Un revolves around a shrieking, intense, vantablack and oftentimes atmospherically overwhelming understanding of Avantgarde and Free Improvisation reminiscing of a secret congregation of utmost alien, multi-tentacled entities conversing by the means of unspoken and previously unheard of, utterly abstract and incomprehensible utterings, panning out a conspiracy of sorts, acting suspiciously and beyond any form of governmental control, surrounded by bustling miniature lifeforms trans- and emitting streams of hypercascading information patterns at all and any times, turning the entire scene into a whirling, flickering, buzzing and ever pulsating sphere of sonic density that lies way ahead of what most ppl might be able to process without their brains exiting into an emergency overload mode. For fans of: FreeJazz, Noize and HyperImprov.

Album artwork on Instagram!

Akustikkoppler - Alles Muss Raus [Block 4]

Coming in straight from the offices of Malte Steiner's Aalborg-based label Block 4 is "Alle Muss Raus", the latest full length album effort by electronic duo Akustikkoppler which is a collaborational joint venture project comprised of Mr. Steiner himself in cooperation with producer Matthias Schuster. Put out on the circuit on April 22nd, 2k22 as a limited edition of 300 translucent vinyl copies the ten tracks spanning longplayer sees the duo exploring a wide range of sonic variations spanning an ark from dry, raw and slightly lo-fi leaning Electro and ElectroPhonk for fans of Luke Eargoggle and the likes of to rather agitated Industrial-leaning peaktime bangorz like "Mitnahmequalität", streams of eerie atmospheric darkness to be found in on the "Heimweg" ('way home' for all non-German speakers) as well as IDM x Braindance x Drill'n'Bass-informed lo-fi madness ("Mittenmang") whereas tunes like "Baustellenradio" provide surprisingly uplifting Electro vibes, "Glaslappen" indulges in gooey, dark'ish modulation excesses whilst "Dinge, Die Unter Dem Tisch Lagen" is a strong contender for one of the best track titles ever in the history of electronic music just to name a few. Good stuff. Recommended.

baze.djunkiii Chart Haul 05/2k22

Listen Again: baze.djunkiii presents: Nu Body Movements Volume 1 @ Radio Flouka / Paris (19.05.2022)

Radio Flouka راديو فلوكة · baze.djunkiii presents: Nu Body Movements Volume 1 - 19/05/2022

The D3VI7 - 100 Acid Trax / Ethnomite Pux - Acid Killer [Jaim Promo]

Coming in as a promo from the somewhat ominous and self-distributed Jaim imprint which seemingly carries out their digital label operations from a place hidden deep within the Chinese underground scene is this seven track split EP which combines tunes by German producer The D3VI7 and the local electronic music activist Ethnomite Pux. Opening with The D3VI7's "100 Acid Tracks 003" we're drawn straight into the heart of the dancefloor by a muscular, hyperdense, fast-paced, gooey and elastic Acid tool variation bringing forth eerie and whipping mechanical sounds to push punters to their very limits whilst the subsequent Ethnomite Pux tune "Acid Killer 1" provides a short and slow, highly experimental lo-fi snippet for die hard Acid-headz only before "100 Acid Tracks 005" takes on MonoAcid from a screaming, screeching and well psychotic angle, pairing multiple layers of braincell wrenching modulation madness with hard pumping drums for illegal fog-filled basement venues which give an actual shit about soundproofing and noise control. Furthermore "Acid Killer 2" surprisingly gravitates to what could be described as a filter-heavy, widescreen ItaloDisco vibe for fans of Kavinsky and the likes of as well as genres like (Neo)Cosmic or (Neo)Kraut, "100 Acid Tracks 004" follows through with some raw, highly compressed sawtooth Techno antigrooves which somehow evoke faint memories of Uwe Schmidt's long gone Atomu Shinzo project followed by "100 Acid Tracks 007" with its unpolished, spiralling, yet somewhat desolate and lost MonoAcid feel whereas the final cut that is "Acid Killer 3" brings forth intense, beatless and well retrofuturistic modulation sequences over the course of nearly 7 minutes and is the closest Ethnomite Pux comes to real spine-tingling Acid sounds on this one ever.

Randi Pontoppidan & Povl Kristian - Life In Life [Chant Records]

Released via Chant Records on May 6th, 2k22 is "Life In Life", the new collaborational longplay effort conceived by pianist x composer Povl Kristian and renowned vocalist x improviser x performer Randi Pontoppidan which share a distinct sonic vision over the course of eight new pieces and a total runtime of roughly 36 minutes. Based on a sparse, yet touching and powerful, in parts even noir'esque piano foundation laid down by Kristian Pontoppidan's voice unfolds in a remarkable and well exceptional fashion, exploring highest tonal heights in moments of crystal clear, floating and classically trained soprano performances whilst more Spoken Word-leaning non-vocalisms tend to reach for a more abstract approach, partly accompanied by electronic sweeps and multi-bleeps of probably modular origin whereas, yet in very rare outbursts, we see Randi Pontoppidan's voice explode in a raging and ravaging fashion, bringing forth guttural tones way beyond what one would expect the human voice being capable of. An album that defies any proper classification yet would probably sit well with lovers of classical Opera as well as fans and followers of anything Modern x Contemporary Classical these days.

Album artwork on Instagram!

Martin Weinreich - Points Of Entry: 1989 - 1995 [Hauch Records 025]

Put out on the circuit via Düsseldorf-based imprint Hauch Records in March, 2k22 is "Points Of Entry: 1989 - 1995", the fifteen tracks and 37 minutes spanning longplay solo debut by Martin Weinreich. Produced and recorded in Cologne the limited to 100 hand-numbered copies CD edition comes with an extended, slightly oversized 40 pages booklet featuring both black and white photos as well as a variety of quotes and fragmented memories certainly related to moments and things in the artists past as well as his musical influences of which quite a few are cited as so-called 'enablers' in the albums booklet, including bands like Eisenvater, Gunshot, Nitzer Ebb, Cypress Hill, Throbbing Gristle, Tricky, Readykill and others. With these influences in mind the music of "Points Of Entry: 1989 - 1995" falls into place immediately, a bleak and vantablack stream of sounds meandering in between dark'ish tectonic low end shifts and harsh Industrial Ambient / Rhythm Industrial, spanning from raw, lost and desolate post-tribal drumming to abrasive echoes of early Industrial music, dark electronics creeping up from hidden subsurface vaults as well as eerie takes on outerdimensional Dark Ambient scores seeping through from The Backrooms and other most monolithic sonic events which will turn your worst nightmares into extended journeys into the horrors hidden deep within. Highly recommended, yet not - we repeat: NOT - suitable for the faint hearted by any means.

Martin Taxt - Second Room [Sofa Music]

Scheduled for release on May 27th, 2k22 via the longtime established Norwegian staple that is Sofa Music is "Second Room", the new album conceived by composer x artist Martin Taxt and the second one in a series of conceptual albums inspired by the works of Japanese architect Sou Fujimoto and his perception of architectural spaces. Like its 2k20 predecessor "First Room" based on the sounds and explorations of microtonal tuba playing Taxt - alongside a handful of contributing musicians on hand bells, double bass, organ, alto sax and modular synthesizer - provides a warm, contemplative, yet relatively dramatic take on (Dark)Ambient-infused Deep Listening Music from the very beginning of the opener "Cave vs Nest" onwards which caters both klaxon'esque drone sequences as well as quick, distinct harmonic shifts within the same piece whereas the subsequent "Swelling Forms Of Domes" indulges deeply in longing, minimalist and somewhat maritime dronings and, once again, evokes memories of acts like Kallabris for those who've been into this field for a while before dissolving into wafts of icy, yet beautiful sonic crystals after a swirling climax of sorts. Furthermore "Paving Seen From Above" builds its structure off of modified hand bell pulses and carefully executed atmospheric layerings and sinewave sweeps which slowly transform into more dark'ish, contemplative widescreen panoramas whilst the concluding cut named "Disruption, Disjunction, Deconstruction" ends on a predominantly non-disruptive note in comparison to the rest of the albums tracks, yet might provide both the darkest, most brooding tectonic low end shiftings as well as the brightest, or at least most recognizable and majestic melodic features on "Second Room" which bring to mind classic landscape paintings by renowned artists like Caspar David Friedrich and others of his era, especially those incorporating mountain ranges, forests and deer to cross over into another realm of fine arts for a reason. Go check.

Album artwork on Instagram!

Instruments Of Happiness - Slow, Quiet Music In Search Of Electric Happiness [Redshift Records]

Released via Canadian label Redshift Records on April 22nd, 2k22 is "Slow, Quiet Music In Search Of Electric Happiness", the third official full length album by the Montreal-based guitar ensemble known as Instruments Of Happiness in which the group comprised of Tim Brady, Jonathan Barriault, Simon Duschene and Francis Brunet Turcotte interprets a total of four pieces specifically commissioned for this album, each with an approximate playtime of roughly 14 minutes in total. These pieces, written by the likes of Louise Campbell, Rose Bolton, Andrew Noseworthy and Andrew Staniland were recorded live in Montreal on February 15, 2k20 under all necessary measures and precautions applied on the artists due to the ongoing COVID-19 situation and provide a sonic ark spanning from the eerie, almost stage play suitable / score'esque, slightly twangy and nocturnal Desert Post-PostRock of the spine-tingling opening piece that is "Sideways" which slowly works its way towards heavy, multilayered and slightly Psychedelia-infused DesertRock to the subsequent "Nine Kinds Of Joy" which weighs in a sonic stream of a soft and droning, almost ethereal Ambient quality which makes one easily forget that these sounds are the result of an actual live performance and not electronically generated even though a slow progression towards a folksy, naturalistic variation of what might be called PopAmbient by fans and followers of Cologne's Kompakt Records label occurs later down the line. Furthermore "Traps, Taboos, Tradition" dives deep into the realm of stripped down, spatial and resonating electric guitar tones, providing us with a calm, all embracing and thought provoking deep listening approach before "Notre-Dame Is Burning" drifts off into a dream state of tempered feedbacks, large scale panoramas and distinct, masterfully executed solos which bring to mind a plethora of Cosmic-leaning releases which somewhat provided a sonic tapestry for many a trip-induced journey of the human mind throughout the 70s. If that's a thing you can relate to in some way or another " Slow, Quiet Music In Search Of Electric Happiness" might turn out to be a well valuable addition to your album collection for a reason. Check.

Album artwork on Instagram!

19.05.2022 baze.djunkiii presents Nu Body Movements Volume 1 @ Radio Flouka / Paris (2200 GMT+1)

Welcome to the dancefloor. Welcome to excess. Hamburg-based Radio Flouka-resident baze.djunkiii, still a dedicated raver at heart, is cooking up an uplifting soundtrack for your personal escapism with this hour long blended selection. The ingredients: large scale vocal anthems, bigroom bang0rz, a foundation of intense Techno, bubbling Acid, obvious EBM-influences as well as hints of ElectroHouse and a ton of vinyl records. That's all it needs for maximum action. So go and... move your ass!

decks: baze.djunkiii [Intrauterin Recordings / El Caballo Semental]

file under: Techno / Acid / ElectroHouse / EBM

transmission time: 22oo - 23oo GMT+1

get locked via Radio Flouka
Paris

Lagowski - Danger! Robots And Melting [lagowski.com]

Coming in from long time standing UK-based artist and producer Andrew Lagowski a.k.a. Lagowski is his latest self-released album, the seven tracks and roughly 54 minutes spanning "Danger! Robots And Melting". Put out on the circuit as a limited, hand-numbered collectible CD-r edition of only 50 pieces worldwide  Lagowski's most recent longplay outing is not only a strong contender for one of the best album titles of all time ever but also provides another excellent example of the British artists unique and highly recognizable vision of sci-fi-infused electronic music, from the swinging Breakbeat Dubstep rhythms paired with playful IDM melodies in the albums opener "Kawaii Fractant" to the deep, hypnotic TechnoTrance vibes of the subsequent cut that is "Scatter 6" as well as the driving, yet atmospheric and uplifting Broken Techno sequences to be found in "Kill Devil Hills Mix 3" with its catchy synth melodies and distinct battle bleeps. Furthermore "Fact *Robovox Rework" weighs in ethereal, slowly building Ambient x Deep Listening Music for dedicated fans of Lagowski's S.E.T.I. project with somewhat of a dry, Phonk- / Electronica-leaning twist, the "Bubble Mixture" astoundingly gives off an dark and abstract Instrumental Grime vibe for those who love producers like East Man or Basic Rhythm and would be interesting to be seen being tackled by a plethora of spitting MC's whereas "1331" weighs in swinging ElectroPhonk for late night dancefloor vibeouts before "Purple 8" rounds things off on a hypnotic, spine-tingling and expertly layered RoboTech tip which could do some real damage in the hands of capable and highly adventurous DJ's out there, especially with the well unexpected drop of Balearic pads and guitars way deep into the tunes total runtime of roughly 5 minutes. Recommended for a reason, this.

CD-r artwork on Instagram!

The D3VI7 - The B Master [Urbangroove Records 047 Promo]

Put out on the digital circuit via Italian label Urbangroove Records as their cat.no. 047 on March 31st, 2k22 is "The B Master", another fresh single release produced by no-one less than The D3VI7 himself. Opening with the original version of "The B Master" the hell'ish creator brings forth a stripped down, subaquatic vision of highly functional, ominous and almost 'troity Techno paying homage to originators like Robert Hood and the likes of whilst the second variation, a remix crafted by Flensburg / Germany based DJ Nightnoise approaches a realm of dark, modernistic and most reverberating SloMo Techno accompanied by eerie atmospheric warpings and an extended mid-track breakdown catering to the most goth of all HipsterGoth Techno floors to be found below the streets of Berlin. We're in for the original, though.

Kristine Scholz - Plays Otte And Cage [Thanatosis Produktion 009]

Put out on the circuit via Swedish label Thanatosis Produktion as their cat.no. 009 is Kristine Scholz' "Plays Otte And Cage" which sees the 1944-born pianist providing her take on pieces by highly influential composers Hans Otte and John Cage, accompanied by an extended set of liner notes in the albums booklet. With the first half of this 41.41 minutes spanning release covering Hans Otte's "Das Buch Der Klänge IV / II / IX / XII" with pieces being played in this particular order Scholz provides a set of expressions ranging from sparse and almost noir'esque to playful and frolicking cascades of repetetive, yet ever changing nature before John Cage's "Music For Piano 4-19", an extended composition of 19+ minutes total duration, brings forward a deeply nocturnal solo piano experience, being an astoundingly accessible, yet monolithic, abstract and mininimalist body of work transcending regular structures of space and time which hovers slightly beyond and above our known universe and therefore is our favorite cut on this longplay piece. Recommended to all fans of Contemporary Classical music and deep listening piano exercises, this.

Album artwork on Instagram!

Eldritch Priest - Omphaloskepsis [Halocline Trance 026]

Released via Toronto-based and Egyptrixx-run imprint Halocline Trance on March 4th, 2k22 is "Omphaloskepsis", the most wondrous one take album debut by Vancouver's composer x writer x performer Eldritch Priest who caters a strangely meandering, 54 minutes spanning body of work based on and built around an ever changing, twangy and introspective, somewhat Jazz-infused guitar line of seemingly improvisational nature which never reaches a point of resolution or coming full cycle over its entire runtime whilst being accompanied by musically parallel piano sequences, random distortions and electric guitar riffing as well as additional electronic processings which, despite being calm and mostly stripped down in nature, make this one a listening experience hard to tackle for anyone looking for a traceable, comprehensible musical structure for their personal enjoyment. This is way up in the realm of the avantgarde and probably one of the best sonic depictions of how life with ADHD must feel like, a plethora of possibilities and options of which none are really pursued or meant to come to full fruition, even if "Omphaloskepsis" probably was never intended to function in this specific way. A conceptual music beyond any genre, with Contemporary Jazz probably being the closest or most suitable drawer to put this one in.

Knarz Maschine - Acid Knarz EP [Psychocandies 099 Promo]

Next up on the ever busy digital imprint that is known as Psychocandies is the "Acid Knarz EP", the latest three track single by the somewhat mysterious producer named Knarz Maschine. Opening with "Acid Knarz 3" we see Knarz Maschine on a slightly psychedelic, tripped out Techno tip accompanied by weird, creepy soundscapes seeping through from the offset otherworld whereas the subsequent "Acid Knarz 2" pulls off a somewhat warped and wobbling, eerily shifting variation of Broken Techno both reminiscent of psycho horror and a hyperdark variation of early Knarz tracks brought forward by the (sub)genres inventor Thomas P. Heckmann before the final cut aptly named "Acid Knarz 1" brings on hounded, relentless and well whipping uptempo Techno for rave floors lit by strobes on maximum speed, sending punters to a new dimension with the addition of a whirling, ever spiralling PsychoAcid sequence which introduces the next level of intensity at its first appearance around mid-track and therefore turns this final one into our favorite cut out of the three featured on this single.

RG Rough - 70 [Bam Balam Records 089]

Put out on the circuit via Bordeaux' ever active Bam Balam Records label on April 23rd. 2k22 is "70", the fifth full length album cooked up by Robert G. Rough a.k.a. RG Rough for the imprint within a little more than three years since his first appearance on Bam Balam Records in 2k19. Split in two parts aptly named "70 71 72 73 74" and "75 76 77 78 79" respectively which are covering a playtime of roughly 44 minutes in total we're following RG Rough on an extended trip into most krautsy territories over the course of this album, drifting away into a new state of trance whilst listening to fever'ish, repetetive, yet slowly evolving rhythm signatures accompanied by evermore densely growing layers of instruments, eerie, otherworldly dronings and truly (Neo)Cosmic workouts, psychedelic Ambient x PostRock amalgamations, somewhat retrofuturistic sequences, deep, emotional synth dreamscapes, avantgarde cut-up episodes leading into tense SpaceRock instrumentals and other goodness made to please fans of classic KrautRock as well as more contemporary sounds provided by acts like Zombie Zombie, A Gang Of Crows, Padded Cell and the likes of. This is a trip.

Jens Mueller - Marudi EP [Psychocandies 098 Promo]

Put out on the digital circuit via Psychocandies only recently as the imprints cat.no. 098 is Jens Mueller's "Marudi EP" which features the original version straight from the studio of the German producer as well as two additional remixes. The original "Marudi" sees the head honcho of the Sound Kleckse Radio Show on a deep, ethereal TechTrance tip for an intro sequence before spiralling synths lead the way for a pumping, highly functional Techno workout whilst the subsequent relick by P.T.B.S weighs in dark'ish, almost threatening atmospheres alongside a relentless, ever marching drum foundation only knowing one way - forward! - to provide fodder for all peak time dancefloors whereas the closing variation a.k.a. the "Marudi *Afflicted Remix" dives head over heels into classic, bubbling AcidTrance territories to provide a sweet hypnotic variation for all oldskool ravers dearly missing thick fog, flashing laser lights and epic mid-tune breakdowns for a reason. Yet, Afflicted have got you covered.

Linnea Talp - Arch Of Motion [Thanatosis Produktion]

Another fresh one on the rapidly expanding Swedish avantgarde imprint that is Thanatosis Produktion is "Arch Of Motion", the first full on solo album by composer x organist Linnea Talp. Put out on the circuit on April 29th, 2k22 the 31 minutes spanning album covers a total of eight pieces which see Linnea Talp on pipe organ and modular synth accompanied by a set of contributing guest artists providing additional layers of vocals, flute, grand piano, guitar and more, with everything falling into place in an almost Ambient'esque fashion, providing sustained yet textured tones and chords, revealing more and more hidden detail with each and every tonal change, a comforting, almost microtonal journey resulting in washed out, klaxon'esque pieces like the longing "Going Nowhere" or the subsequent "Mending (Light Pressure)" which both sound like one would picture an extended walk through the more industrial, container-loading environment of a modern harbour on a random, yet brutally fogged out November Sunday afternoon to look like - somewhat bleak, yet most beautiful - whilst "Rasunda Kyrka (Exhale)" almost borders on Minimal and x or Dark Ambient in a certain way just to pick a few outstanding pieces here. If those strolls in lost industrial spaces are a part of your regular routine anyway this album should be your future soundtrack for activities like this. Go check.

Album artwork on Instagram!

Kaja Draksler - In Otherness Oneself [Unsounds 073]

Released via the more than two decades of continuous output strong Unsounds label on April 5th, 2k22 is "In Otherness Oneself", the latest longplay outing by Slovenian pianist x composer Kaja Draksler. Taking inspiration off of her ability to speak and understand multiple languages Draksler approached this album with a rough outline of an idea to develop a variety of different languages for her instrument of choice which finally ended up influencing one another at certain moments similar to how everyday languages and dialects are in a constant state of flux, exchange and dialogue, ending up with an end result that can be described as a deep and oftentimes stripped down take on Contemporary Classical music. Opening with an excerpt of a vintage recitation of a 1962-written poem followed by thoughtful, slightly romantic piano etudes Draksler sets the tone for all things to come, be it detailed and dramatic waves of sound, faint echoes of somewhat classical vocal performances to more Avantgarde-leaning, somewhat retrofuturist, agitated and computational pieces like "Prst, Roka, Laket" or even, if yet abstract, references to Jazz as well as experimental scores from a now long gone, monochromatic era of cinematography which are especially prevalent in bits like the second to last cut that is "Startonuti". One to check out for fans of modern solo piano performances and other variations of Modern Classical composition.

Album artwork on Instagram!

Red Green Blue - The End And The Beginning [Astral Spirits Records]

Set for release on June 3rd, 2k22 via Austin, Texas-based label Astral Spirits Records is "The End And The Beginning" which marks the first ever longplay release for the American triplet of artists known as Red Green Blue who are joined by composer, vocalist and multi-instrumentalist Ben La Mar Gay for the second cut of this extended two track album. Spanning a total of roughly 44 minutes "The Beginning" incorporates the first half of this release, fusing acoustic instruments and electronic sounds in a tender, slowly evolving fashion which amalgamates a comforting sense of ambience with both what could be described as Minimal Krautrock and a deep, slightly washed out Dark Jazz / Future Jazz approach, continuously drifting beyond the limitations of space and time whereas the aptly named piece "The End" provides a similar, yet somewhat lighter take on tender minimalisms whilst incorporating a few additional sequences of classic, free-floating to growingly intense Jazz improvisations with actual brass instruments and a certain sense of nocturnal melancholia present which probably makes this one more accessible to genre connaisseurs that haven't explored much at the fringes of what Jazz can be... yet. Deep.

The D3VI7 - The Source [Pulsewave Records 0097 Promo]

And he's back. The D3VI7 brings forth another digital one track single on the Japanese Pulsewave Records label, this time the imprints cat.no. 0097 which has been released on May 1st, 2k22. Exploring functional, slightly muffled and ultra bass heavy TechHouse / HardHouse territories The D3VI7 combines highly seductive underground grooves with a banging, ever repeating oldskool stab motif and a bubbly, slowly building Acid synth line to bring on heat in the hours after extended after hours. Music to be played on dancefloors when it's getting dark again after a night out. You know the score.

Heldon - Antelast [Bam Balam Records 091]

Put out on the circuit via Bordeaux-based label Bam Balam Records on April 23rd, 2k22 is "Antelast", the latest album outing by long standing French Experimental / Avantgarde Rock outfit Heldon. With their first longplay release going way back to 1974 the project founded by Richard Pinhas presents a five part session with its individual pieces, all of them recorded live at the Lieu Unique venue in Nantes in 2k19, aptly titled "Antelast One - Five" subsequently. The trio comprised of founder Richard Pinhas alongside Arthur Nancy and Florian Tatard starts off with a combination of droning guitar feedbacks and electronic atmospheres in a truly (Neo)Cosmic fashion soon met with a loose, yet thundering continuous build up of ever more complex drum layers slowly falling into place over the course of minutes, partly bringing to mind a picture of an occult and twisted version of Magma existing somewhere in a parallel dimension seamlessly transferring into fever'ish, animalistic drum excesses of ever growing intensity, endless rides through heavy Psychedelic and Progressive Rock realms as well as slightly krautsy variations which are especially prevalent in the almost militant "Antelast Four" before the concluding feedback madness of "Antelast Five" comes to an abrupt and somewhat unsatisfying halt and leaves the listener on cliffhanger without a proper denouement. Defo a heavy listening experience, this, which probably needs more than one dedicated session to fully unfold.

Robert Takahashi Crouch - Ritual Variations [Room40 Promo]

Actually released on May 6th, 2k22 via the Australian Room40 label is "Ritual Variations", the latest album by L.A.'s Robert Takahashi Crouch - or better: an extended remix ode to "Ritual", the opening tune of his last full length piece "Jubilee" which was put out on the circuit back in 2k21. With the original two hours of recorded source material at hand which used to make up the foundation from which "Ritual" was derived we see a total of eight artists, Crouch himself included, bringing this source material to life again - and into a new form. Over the course of 72+ minutes the reworks provided by the likes of Room40 head honcho Lawrence English, Yann Novak, Christina Giannone and others cover a sonic spectrum ranging from icy and glistening Ambient structures to a tender stream of slowly evolving Deep Listening Music, extremely eerie, otherworldly minimalism paired with overwhelming low end pulses and faint echoes of (Neo)Cosmic to be found in Faith Coloccia's "Voice VI Compression Ratio" as well as stripped down athmospheric drone textures, brittle, trembling ambience, tectonic shifts accompanied by spatial crackles and beyond just to lay out a rough idea of what is to be found on this one. If you're a dedicated Ambient collector and x or fan of the Room40 outft in general this one might be a well suitable addition to your collection.

Hanzzo - Resonanzz [Orks 008 Promo]

Released on the digital circuit via Orks as the labels cat.no. 008 on March 20th, 2k22 is "Resonanzz", the latest single by German underground producer Hanzzo. With his original version of "Resonanzz" Hanzzo explores a realm of hefty, reverberating Bigroom Techno with a muffled, tool-oriented attitude whilst the subsequent rework by Mr. Wox brings on a cleaner, more stomping and compressed approach, focusing on functional filter works, echoes of eerie vocal samples and overall dark'ish atmospheres. Furthermore "Resonanzz *P.T.B.S Remix" approaches Hanzzo's original work from a well different angle, transforming the initial cut into a twisted variation of rhythmically complex Broken Techno hyperbrutalism before the final rework on this release sees The D3VI7 on studio duties, speeding things up on the fast lane for all contemporary HardTechno ravers out on strobe lit dancefloors these days. Overall a properly executed release from a technical point of view, yet a little too functional and nondescript to actually really stick out or impress.

The D3VI7 - Trip to The Moon [Pulsewave Records 0096 Promo]

Released via the Japanese imprint Pulsewave Records as a digital one track single on February 26, 2k22 is "Trip To The Moon", another fresh one produced by noone less than The D3VI7 himself. Weighing in a surprisingly trippy, twisted and psychedelic take on late night dancefloor sounds the German underground producer pairs gooey, swampy and ever meandering midrange synths with uplifting Trance progressions, dubbed out bass pulses and sharp, widely unprocessed hi-hat works for those oldskool ravers who still remember and appreciate the raw, almost demo'esque quality of productions of the early to mid-90s in comparison to today's super polished studio standards.

Jana Irmert - What Happens At Night [Fabrique Records 097]

Put out on the circuit via Vienna's Fabrique Records on April 29th, 2k22 is "What Happens At Night", the latest four tracks and 28 spanning EP / mini album by Berlin-based composer x sound artist Jana Irmert who first appeared on the label with her 2016 debut "End Of Absence". Opening with "Particles" Jana Irmert presents a vast and spatial realm of ambience defined by echoing, slightly psychedelic Field Recordings alongside calm, meditative rhythm signatures as well as extended, comforting droning and tectonic low end movements followed by the subsequent "Ashes", an exercise in classic, yet well nocturnal Ambient minimalism. Furthermore "Dust Is The Rust Of Time" brings forth an amalgamation of swelling low end drones and subdued, stripped down Electronica textures reminiscent of deepest Deep Listening Music once brought forward by now defunct labels like Isolate before the concluding "Stratum" pairs echoes of DarkAmbient with humungous tectonic shifts, cavernous rhythms and drowning, yet glistening melodic fragments shimmering through form underneath the vast and vantablack embankments of sound which make up the very foundation of this closing piece. Good stuff, this.

El Khat - Albat Alawi Op. 99 [Glitterbeat 121 Promo]

Put out on the circuit via Glitterbeat on March 25th, 2k22 is "Albat Alawi Op.99", the sophomore album by Tel Aviv-based four piece band El Khat led by Yemen-born singer / musical mastermind Eyal El Wahab. With the production halted, hindered and hold up for many a month due to the strict Israeli lockdown policy the album is partly a reflection of this time, once again realized on a plethora of self-built, self-invented instruments with a diy-ethos that turns other peoples scrap into something useful and creative with the result being a melange of traditional Arab rhythms and influences, slightly infused by Psychedelia as well as dark'ish Jazz with a Morricone'esque twist and 70s SingerSongwriter / Hippie Folk ("La Sama") whilst stripped down, yet captivating dance tunes like "Ala Al Ma" are able to set dancefloors on fire well beyond the Arab world whereas the concluding title cut "Albat Alawi Op. 99" provides an intense, experimental fusion of real life droning and muffled drum signature for a closing just to name few. Well intredasting and probably a contemporary starting point for those daring to dive deeper into the world of multinational Arab music.

Too Tall To Sing - New Dance Moves [Shhpuma 070]

Released via the Portuguese label Shhpuma only recently is "New Dance Moves", the latest collaborational album effort conceived by Flin Van Hemmen and Jozef Dumoulin under their shared moniker that is Too Tall To Sing. Created via sending digital files back and forth between New York and Paris respectively the nine tracks and 47 minutes spanning album, which is their first dedicated conjunctional duo effort, is based on a process of sampling, re-sampling and oftentimes radically reprocessing a foundation laid down by a combination of piano, percussion, vocals, e-drums and keyboards, all meshed and melted down into a washed out, psychedelic dreamstate of hyperabstract FutureJazz meets Electronica textures in the opener "Allerlei" whereas the subsequent "Little Bird Of Bad Omen (Ty-Yt)", the first piece of their recording session which laid out the path for all things to come thereafter, covers tender and dreamy Piano Ambient grounds, the stripped down piece that is "Familie" seems to be exclusively derived from Field Recordings of clanging and grinding metal pieces, some of them of large scale, later accompanied by minimal rhythm programming hidden deep with the background of the overall mix and the ingeniously titled "We're Not Doing Much Socializing" opens with a surreal, almost movie'esque conversation about wearing masks accompanied by haunting piano noir improvisations before drifting off into deep misty Ambient / Deep Listening Music territories just to name a few. A well interesting and diverse album which exceed the realm of Jazz the two musicians invlvd are at home at by many a mile. Go check.

Album artwork on Instagram!

The D3VI7 - Nuke Vol. 13 [Nuke The Planet 013 Promo]

Another fresh one put out on the digital circuit is the latest release of the somewhat mysterious imprint named Nuke The Planet which brings forth The D3VI7's "Nuke Vol. 13", the next in a continuous series of one track singles produced by a variety of artists over the past years. This being said we see The D3VI7 on a well brutalist tip with this one, catering a highly compressed and therefore slightly distorted HardTechno x Hardcore fusion featuring distinct, braincell-wrenching filter works, grinding Industrial sounds as well as a toxic, modulated and twisted, yet non-acidic high frequency motif which functions as a deadly precursor of the sonic apocalypse to come. Violence!

Robert Haigh - Human Remains [Unseen Worlds 043]

Put out on the circuit via Unseen Worlds in CD format on March 18th, 2k22 with a full vinyl release to approximately follow up in November this year is "Human Remains", presumably the final new album ever to be released by long standing British producer Robert Haigh who's planning to focus on painting and other creative outputs after being invlvd with music for roughly four decades now. Spanning a total of thirteen new compositions and a total of approx. 40 minutes runtime Haigh's parting journey provides a tender, almost romantic and melancholia-inducing take on a variety of inward looking, for the most part unprocessed solo piano exercises which, in their purist beauty and floating, crystalline form, might speak to an audience well different to what the Unseen Worlds usually covers and will probably crossover into the realm of (Neo)Classical x Contemporary Classical apart from finding its home in the crates of dedicated Piano Ambient collectors as well. File under: timeless and unscathed music to be experienced alongside a loved one. Also: beware of the highly dramatic "Baroque Atom" which finally breaks the cycle of solo piano performance towards the very end of the longplayer, presenting layers of agitated strings and intense bassline pressure for a sudden and well surprising change of the overall course.

Album artwork on Instagram!

Replica Ghost - An American Movie [self-released]

Coming in via mail from the former capital of Western Germany, Bonn, only recently is "An American Movie", the latest and self-released album by Turkish producer Ergün Aktürk a.k.a. Replica Ghost who realized this roughly 58 minutes spanning longplay outing with the help of long-standing Cologne-based producer Robert Feuchtl a.k.a. Bob Humid. Put out on the circuit on March 18th, 2k22 the twelve tracks, or better: songs, featured on "An American Movie" are covering a musical ark ranging from heavy Rock x BigBeat fusion bits for fans of massive riffs, Black Rebel Motorcycle Club or even Björk's raw alltime classic "Army Of Me", electronically fused Grunge x Metal crossovers, vocals informed by dramatically bored 90s Alternative x Leftfield Pop singers, wall-of-sound production techniques and still unmatched muscial phenomena like Pop Will Eat Itself whereas singular tunes like "Blue Me Blue You" are fusing Bob Humid's Drum'n'Bass / Breakbeat history with lighter, slightly psychedelic vintage aesthetics once employed by the likes of Towa Tei, Cornelius or Pizzicato Five. Furthermore we do find hints of smoked out SynthPop with a Marlene Dietrich'esque twist, 4-2-the-floor based IndieDance / NuRave efforts as well as surprisingly tender and dreamy Indietronica / PostRock ballads ("Flora & Fauna"), well seductive late night Pop ("Raw Chocolate"), tripped out Madchester Rave variations and more which make "An American Movie" an interesting and well diverse yet also hard to grasp body of work due its sheer sonic variety and versatility with multiple dedicated listening sessions needed to unlock all its level.

baze.djunkiii Charts 05/2k22

01. Jensen Interceptor & DJ Fuckoff - Club Angels EP [Dancetrax 036]
What a massive release this is. Jensen Interceptor & DJ Fuckoff bring on massive Ghettobass / Booty Electro / Electro Bass heat with this four track 12" vinyl release on the Unknown To The Unknown offspring known as Dance Trax and therefore provide another worthwhile contribution to the genres most recent resurgence. Get down and dirty and NSFW and prepare for some serious highspeed action brought on by the B1 cut named "Drop Your Pants" which also dabbles with banging Chicago Basement-influences for peak time abuse. 100% dancefloor destruction guaranteed.

02. Mark Vernon - Time Deferred [Gagarin Records]
See review for details...

03. No More - Suicide Commando [El Caballo Semental 002]
See announcement post for details...

04. Jana Rush - Painful Enlightenment [Planet Mu 428]
Chicago's finest Juke / Footwork export Jana Rush dropped her first solo album for Mike Paradinas' seminal Planet Mu label last year and despite being a little late to the party in terms of purchasing it this one defo needs to be mentioned and highlighted for its brooding, sparse and unique take on the genre, from the Jazz-infused opener "Moanin'" to the most abstract, yet hard hitting follow up that is "Suicidal Ideation" as well as the Disco-citing high energy peak time effort that is "Disturbed", the robo-mechanical sci-fi warfare soundtrack piece aptly named "Intergalactic Battle" and the vantablack late night bang0r that is "Just A Taste" - with both tunes last mentioned created by Jana Rush alongside DJ Paypal just to name a few. An album that exceeds way beyond the realm of Juke / Footwork and elevates the genre to a whole new level. Recommended. Get.

05. Anschein. - Uberkomplexx. [Anschein 001]
See review for details...

06. Xposed 4heads - Planet A' Go-Go [Internal Combustion 004]
See review for details...

07. King Pepe - Acapulco / Hei Mond [DGM 1302]
Something for collectors of the obscure and more leftfield. The Swiss-based singer x songwriter King Pepe brings on cheesy, nocturnal lo-fi Easy Listening as well as Drum'n'Bass meets Pizzicato Five-reminiscing vibes paired with Swiss German lyrics on primitive art printed whitelabel 7" vinyl which makes this one an interesting addition to the collection for all lovers of Leftfield Pop and beyond.

08. Beam Up & Bukkha - Double Trouble / One Shot [45Seven 022]
Leipzig's long-standing 45Seven imprint strikes again with a 7" double feature produced by Beam Up & Bukkha which marks their third appearance on the label since 2k15, once again presenting a quality take on contemporary, yet Roots-informed Jungle Dub music for deepest dancefloor sessions, weighing in everything from warped basslines, echo'ing vocal bits as well as filtered horn offbeats to classic melodica / synth lines for those in the know.

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The D3VI7 - Back On You EP [Fresscode Records 010 Promo]

Another fresh one put out on the digital circuit most recently is The D3VI7's "Back On You", released as latest three track EP and cat.no. 010 of the German underground label that is Fresscode Records. Opening with "Back To House" we're staring into a surprisingly not so hell'ish vortex created from elastic, pumping and slightly Progressive leaning TechHouse backed by a bassline sequence slightly reminiscent of a Josh Wink classic of yore whereas "On You" provides a twisted, slow motion Tech vs anti-groove vision atop a brooding, well fascinating bassline to be loved by those who've danced their ass off to tunes like Thomas Schumacher's "Schall" in the 90s before the final cut that is "Bum Bum Bum" weighs in rolling, Tribal-infused ToolTechno goodness as a foundation for a sparse, yet sparkling and ever so slightly changing synth motif that screams futurism still, even though sequences like this have been used and abused by masters of 'troity minimalism for 25+ years now. Mark "Bum Bum Bum" as our personal favorite here.