Visceral, elemental, electronic funk, conjured from scraps of sound, breath, mutterings, dubwise remembrances, scuffling, sweat and blood, thin air — ‘crawled out of the slime’, as the opener puts it, self-engendering like the baddie in Terminator — all harnessed to cruelly grooving earthquake bass and b-boy drum science.
Rhythmically it has ants in its pants and it needs to dance, with an improvisatory, streetwise nervous energy and uninhibited, purposeful rapture — akin to this guy, say, eighteen minutes in — crossed with on-song Pepe Bradock and stripped-to-the-bone, mongrel hip-hop.
It’s unruly and edgy, a bit off its rocker, emotionally ranging — typically anxious, often nostalgic — and riveting dance music.
Judge-dread mastering by D&M; first-class Pallas pressing; stunning gatefold artwork by Will Bankhead.
Ruff ruff ruff.

‘The opener Cans People is an archaic rave monster, To Know Those Who is non-linear dub techno, Nocturnal Palates expands the filter-house universe, and Rave Nite Itz All Right hits you hard and strange, kind of subtly.
‘The last two tracks really let loose. Madteo manipulates time, space and sounds to create the psychedelic secrets of Luglio Ottantotto. And Emo G (Sticky Wicket) explores the outskirts not only of House or Techno or whatever but music in general: a fifteen-minute trip through the low frequencies, the rumble, the dark hearts, and the enchantment. Breathtaking.’

Out of all the twelves by MN on Jamal Moss’ Mathematics label, maybe the most outstanding goes under the name Ra Toth — and true to form this is double-sided trumps for BH, slapping together bad-minded, cosmic jazz and banging, bruk-up disco.
The A sounds like a young Pete Rock giving Theo a hand with some Dirty Edits; the flip like a blend of evilous Arkestra and prime Innerzone Orchestra.

Consummate Berlin dub science by the maestro.
Beautifully textured, shuffling Lagos funk, on home-made percussion… militant horns… and a walloping, filthy-stinking kick-drum like the bucking, hairy hind-most of the Devil himself.
The Dub is Warrior Charge, 2016.
What a record. Bim squared.

Utterly timeless dance music (from twenty-five years ago). Peerless dubwise techno.
We could listen to the dub for days. We probably have, already.
An absolute must.

The recording debut of a collaboration between Jordan ‘Jordache’ Czamanski and Ilya Ziblat Shay. Three freestyling chunks of hallucinatory electronica and freaking jazz; plus a sublime remix by Parisian maestro I:Cube, with MT’s wild keyboard lines, distant bells and general insobriety threading a tactile, sunrise-friendly house groove. Tropical jazz-funk for the synthesizer generation. Call it Balearic and die.

‘A work of intimacy, love, struggle, grandeur and sonic adventure,’ recorded in Geneva during 2013-4.

I really felt the need to work on something like In Major in the moment I started it. It’s instantly joy!
And only back then, during the storm, I thought of working on an album…

None other than Mick Harris from Napalm Death, and his deadly Midlands iteration of Detroit techno. Transatlantic motor-funk from the mid-nineties, when Brummie club-night the House Of God was alive and kicking. Still stinging.

At last, after a long break… WM006.
A four-track EP by Morgan Louis — from the 004 showcase — plus three locked grooves.
Pedigree, locomotive, deep steppers.

Moritz from Basic Channel and Rhythm And Sound, alongside Vladislav Delay (Chain Reaction) and Max Loderbauer (Sahko): a dream crossing of classic Berlin techno, On-The-Corner Miles, Larry Heard, and Can.

At its most open, shifting and expressive to date. For all the music’s complexity and deep coherence, freedom is the key. At times it grooves hard; at others it’s lush, romantic.
With Tikiman and Marc Muellbauer.

A handful of LPs signed by Moritz!

At its darkest and most driving. The group is clear and unanimous — this is their best yet.

Tony Allen, Max Loderbauer and Moritz von Oswald; mixed by Ricardo Villalobos.

DJ Nobu & NHK yx Koyxen.