[Sandwell District]

The last year or so has been a pretty odd one for Sandwell District. Already fast becoming one of most hyped labels in techno, Feed-Forward‘s excellent take on modern techno really sealed the deal for those a bit late to the party. However, it was at least the album’s delayed release and subsequent scarcity late last year that blew the hype into the stratosphere — something the Sandwell District collective didn’t see coming and seeked to rectify by releasing a long procession of versions of the album across multiple formats. Perhaps it’s just because I was lucky enough to grab a copy of the LP before they so quickly disappeared, but none of these releases struck me as particularly essential. Even less exciting were the rather boring 12″ from unknown Rrose and his album versioning Buchla experiments by Bob Ostertag (which was not quite as boring, but still lacking).

Enter Yves De Mey, a sound designer whose only real previous connection to techno was through the Sendai project with Peter Van Hoesen. His Counting Triggers album, the label’s third long-player, continues Sandwell District’s trajectory into the abstract but brings the quality right back up the level of Feed-Forward. I don’t think you’ll find many DJs reaching for Counting Triggers in the club, which is just as well because the music etched into its groove is most certainly dance music, just not necessarily club music. At the heart of the album lies an incredible array of sounds wrestled out of Doepfer systems, which is a big reason why Counting Triggers is such an engrossing listen. New, unexpected sounds peak their heads out from every corner, filling out the frequency spectrum while making sure to avoid a cramped density.

All this makes Counting Triggers sound like a very academic listen, and while that’s certainly one way to approach it, it masks the rhythmic and emotive qualities that listeners coming back. This is Autechre had they grabbed a bunch of patch cables rather than gone down the Max route: rhythms intermingle in steadily shifting waves, and melodies briefly come into focus almost by accident. The dynamic range present is something sadly missing from most club music, as it’s from the gradual changing of the myriad elements in time, rather than simply their loudness, that gives rise to emotions from anxiety and dread to relief and contentment. Every now and then an almost organic sound (sometimes there are traces of what sound like guitars) cuts through the electronics and static, grounding us in much the way the rare 4/4 kick does — that grounding can be necessary.

The temptation here can be to make comparisons with the likes of Raster-Noton and Mille Plateaux, and while those are decent reference points, Yves De Mey’s work is just a whole lot more recognizable as dance music. Instead of going as far into the abstract as possible, these tracks pull from the world of experimentation and establish bonds with the more practical side of things — resonating in ways that more heady fare can sometimes neglect. A physical force in terms of skeletal vibrations as well as the sounds themselves, Counting Triggers is a deeply compelling body of work. And while here on Earth it may still takes a couple of listens to wrap your head around it, I’m sure on another planet (or in another dimension) this stuff really jacks.

[430 West]

The annals of electronic music are heavily populated with remixes that not only enhanced original tracks, but gained them infinitely more acclaim and exposed them to much bigger audiences. Let’s face it – does anyone really know the original version of “Dooms Night” by Azzido Da Bass or did Robert Armani’s “Circus Bells” stand out before Hardfloor turned it into a razor-sharp snare rolling, acid-peaking techno classic? Thought not. Unfortunately, for every defining remix, there are thousands of ill-advised treatments that were quickly consigned to the scrapheap — think any attempt to remix “Strings of Life” — or even the recent edits of Trax releases. The reason why these remixes fail is because their authors set out to achieve the near impossible, namely to improve on the closest electronic music comes to perfection. A similar if not quite as daunting dilemma faces Sandwell District and Aril Brikha on Revisited Series 2.

Octave One, aka Detroit’s Burden brothers, have been releasing hypnotic techno for over 20 years, laying down the blueprint for every would-be tribal producer to emulate. Adding to the scale of Sandwell District’s task is the fact that they are reworking “I Believe,” the Burdens’ first release, a piece of music that along with UR’s “Yolanda” defines a brief, wide-eyed moment in time when deep techno and vocal house sat together comfortably. Lisa Newberry’s breathless vocals capture this sense of innocence — an element Regis and Function’s version thankfully preserves. There’s not much else left from the original, with a shuffling rhythm track replacing the stop-start crisp beats, and murky, industrial textures replacing wonder with a sense of foreboding. It is through this dense atmospheric prism that Newberry’s vocals are audible: muffled though they may be, they still manage to remind the listener, now attuned to a gloomier narrative, of the positive movement that birthed techno. Brikha’s subject material is less onerous or problematic, as he is faced with a textbook Octave One track: “Daystar Rising” was originally released in 1998, when the brothers had reached the height of their creativity and popularity. In its original form, it’s one of their typically seductive techno rhythm tracks augmented by a distinctive bass stab. Brikha adds some grimy acid to the arrangement, along with chords characterized by a more mysterious edge than is his wont. Unusually for the Swedish producer, the end result is a leaner, meaner and moodier interpretation of dance floor techno. However, while both remixes are notable for altering the mood of the Burdens’ original compositions, it is unlikely that they will be feted as game-changing remixes.

[Sandwell District]

The most notable aspect to the run-up to the release of Sandwell District’s debut album was the hype surrounding it, but this writer was also struck by expectations from some corners that Feed-Forward would not bring with it a seismic advancement for techno music. By definition, such a viewpoint is fallacious. Operating within a rigid set of guidelines and structures means techno producers face the dilemma of either flirting with other related styles, or alternatively, facing the almost insurmountable task of producing something of magnitude within the ascribed parameters. Speaking about the limitations placed by techno’s adherence to 4/4 back in 1997, Jeff Mills told this writer it was “a wonderful hindrance” and he relished the challenge of making an original sounding piece of music within these constraints.

While it would be easy but perhaps simplistic to accuse Mills of constantly referencing himself, criticism of Sandwell District and Feed-Forward revolves precisely around the questionable points — that they are merely adept recyclers of the past (often their own work) or they’re not imbued with a sonic alchemy capable of miraculously transforming a 30-year-old genre with a game-changing release. To be disappointed by their predilection for the former and inability to provide the latter betrays a deeply flawed perception of where techno is at nowadays. Rather than viewing the recycling tendency as a negative, this writer feels it is precisely this attribute that makes Feed-Forward such a defining statement about modern day techno: it assimilates existing tropes and narratives from all of the contributors’ recent and not so recent back catalogs to forge a new identity.

Of equal importance is how Feed-Forward effortlessly captures the prevalent tug and pull between techno’s past and present — audible among Sandwell District’s peers, such as Shed, Klock, Dettmann, and Dehnert. Even the album’s presentation, on limited edition vinyl and featuring Silent Servant’s situationist meets surrealism artwork (also exhibited in a fanzine from him) and an accompanying seven-inch single, evokes memories of a pre-techno era when bands went to great lengths and dedicated considerable resources to rewarding vinyl-buying fans. Yet it is also a defining aspect of modern techno. Faced with the prospect of getting lost in an ocean of digital-only, Beatport-friendly mediocrity, many producers are focusing their efforts on vinyl. Limited to 700 vinyl copies, Feed-Forward is a genuine artifact, a document to hold and treasure, guaranteeing the kind of treatment electronic music albums rarely receive (and setting off a bidding war on Discogs). This point is crucial because if you were wooed by earlier Sandwell-released efforts like “Isolation” or “Variance,” the direction Feed-Forward takes may disappoint you. Without containing too many big room techno tunes, it succeeds in giving vent to the Sandwell operatives’ various creative caprices and distills these into a coherent body of work.

The opening “Immolare” sonic triptych defines Sandwell District’s ability to recycle and redefine: sounding like the auspicious beginning to Vapourspace’s classic “Gravitational Arch of 10,” the tone and tempo quickly shift into grungy reverberating riffs and a clinically pulsating rhythm track that is pure Function. It quickly fades to reveal an airy synth soundtrack fighting to be heard above grubby industrial static hums. “Grey Cut Out” also references Sandwell’s collective and individual identities, but the grimy broken beats also conjure up memories of Kalon’s “Born-Against” tempo-wise and the distorted industrial techno of Downwards. What’s more surprising are the chilling chords that cloak the track as it progresses. This eerie interpretation of Detroit techno is audible again on “Falling the Same Way,” where mournful pads complement a purring bassline and doubled-up claps. It’s the most conventional track on the album, but even then it avoids veering into pastiche thanks to a palpable sense of menace bubbling close to the surface. The same sensibility is evident on “Svar” and “Double Day,” where stripped back rhythm tracks are on offer; this is achieved on “Svar” by a gradually building wall of distorted noise and on “Double Day” with hissing, razor-sharp percussion and swinging drums making way for a bleak, tonal bass line.

That’s not to suggest that Feed-Forward lapses into “listening album syndrome,” where techno producers produce one lazy downtempo piece too many. “Hunting Lodge” is among the grimiest techno you’re likely to hear in 2011, characterized by filtered breakdowns, grungy textures and evil acid riffing, like a pre-Purpose Maker Mills or early Surgeon updated for modern palettes. “Speed + Sound (Endless)” is a tripped out spacey groove that throws out references to F.U.S.E.’s Dimension Intrusion album and goes back further to John Carpenter. That the album ends on an atmospheric coda similar to the opening sequences of “Immolare” provides neat symmetry to the album proper. The accompanying seven-inch is also worthy as an interesting addendum. The A-side starts with eerie textures and tonal hypnotism, before moving into Blade Runner-esque synth dreaminess and then repeating the process, while the flip starts with squalling interference, before morphing into an echoing ambience that is supernaturally beautiful yet transient and fleeting, like the northern lights. If you’re looking for something genuinely new, a body of work that starts from the ground up rather than one that builds on existing structures, Feed-Forward is probably not for you. Equally, if you want a collection of dance-floor slaying tracks, you may be disappointed. But if you’re searching for a release that sonically and conceptually defines the prevailing techno zeitgeist, you’ve come to the right place.

01. Hercules & Love Affair, “My House”
[Mochi Mochi Recordings] (buy)
Although Hercules & Love Affair is best known as a disco group, Andrew Butler often worked elements of influential American house music into their songs. In fact the band’s first single since 2008 is the spiritual successor to their charged Chicago house track, “You Belong.” “My House” seems to inch forward in time to the late ’80s and early ’90s and integrates touches of a New York sound in its Windy City foundation. Its mellifluous bass and dexterous percussion form a muscular core that pulls the track through live-wire synth hums, vocals exhorting listeners to “Get up! Get up!” But what always sells me on Butler’s compositions is the songwriting. From its ebullient chorus declaring “My house / is in order,” to the clever verses and extraordinary bridge/breakdown, the song has fan-turned-vocalist Shaun Wright belting out an endearing tale about the peace of mind accompanying a stable relationship which doubles as an excellent house track. If you had any concerns about how H&LA would top their early peaks, “My House” should put them to rest with yet another high watermark for the group.

02. RNDM, “Hideaway Lane” (Dub) [Laid] (buy)
Oliver Kargl hasn’t seemed rushed by dance music’s mercurial ways, releasing only occasionally as half of Pigon with Efdemin, and just as sparingly when flying solo as RNDM. Slowly but steadily he’s established himself as a canny house producer with a few tracks for Dial, a tune for Naïf, and a 12″ for Laid. Hideaway Lane, his second, latest release for Laid, represents a leap forward for the Berlin-based producer. The Dub mix emerges as my favorite for bringing together the tuneful bass of the Shine mix and the spiraling, airy treble of the original. With its soothing pads and soft, tuneful synth undulations, the tune conveys a calm that’s only made more inviting by the lathered up bass line. Tender and limber all at once, “Hideaway Lane” strongly affirms the promise of Kargl’s measured ascent.

03. Lone, “Cloud 909″ [Magic Wire Recordings] (buy)
In spite of his prolific nature and the hype surrounding his “Pineapple Crush” track, Matt Cutler aka Lone didn’t really get my attention until the arrival of his late-2010 album, Emerald Fantasy Tracks. Over the course of its eight tracks, Cutler refined the sun-warped house sound of “Pineapple” into something a bit breathtaking. Opening track “Cloud 909″ is exemplary of this; hyper and housey like Underground Resistance’s “Jupiter Jazz” but furnished with a micro-textured sound akin to DJ Koze or Pepe Bradock. The result is sprightly and somewhat dazed by its own ostensible age — exultant and familiar but too singular to be pastiche. It’s a style few producers can pull off and Cutler does so repeatedly across his fourth long-player. I eagerly await his work 2011.

04. Sandwell District, “Speed + Sound (Endless)” [Sandwell District] (buy)
Sandwell District, both the label and collective, first established itself as a bastion for bleak, uncompromising techno. But as time passes the stony facade has crumbled and a more hopeful and melodically inclined face has revealed itself, starting with the sampler EPs and coming to a head with their long awaited album, Feed-Forward. Although critical consensus has lifted “Falling The Same Way” as the album’s peak, I find myself returning to its closer, “Speed + Sound (Endless),” for repeated eardrum massages. As with much of the album you can pick up any number of influences from the tune, mostly from the electronic side of Krautrock: Manuel Göttsching as Ash Ra Tempel, Harmonia, Tangerine Dream, Cluster, or even Kraftwerk. Balmy and pulsing, crested with gorgeous, swelling chords, minute hi-hats ticking along without disturbing the flow, the track gives the listener the sense Sandwell are as content to conjure soothing moods as dreary ones.

05. XI, “Gamma Rain” [Orca Recordings] (buy)
After a very prolific 2010, Toronto’s XI (Christian Andersen to his friends) begins 2011 on an auspicious note with his Gamma Rain/Medicate single for quickly rising imprint Orca Recordings. Side A dominates the proceedings with a hyper kinetic garage tune that imagines frantic sax lines being beamed through a wormhole, their notes and composition turning inside out, ripping apart and smacking back together with cosmic force. Both the interstellar mood and jazzy nature of “Gamma Rain” smacks of latter day Flying Lotus, but its limber yet straightforward percussion arrangements have more in common with garage/bass music than Dilla’s most revered disciple. Reaching uncharted corners of the sonic universe last aimed for by drum n’ bass producers, “Gamma Rain” is an impressive way to begin a year and potentially the catalyst for more concerted interest in XI.

06. Lauer, “Banned” [Live At Robert Johnson] (buy)
07. Audio Werner, “Guteaussichten” [Story] (buy)
08. Tin Man, “Nonneo” [Absurd Recordings] (buy)
09. Obsolete Music Technology, “Latency”
[Machining Dreams] (buy)
10. Roman Flügel, “How to Spread Lies” [Dial] (buy)

Staff Charts:

Chris Burkhalter
01. Digital Mystikz, “Education” [DMZ]
02. Lone, “The Birds Don’t Fly This High” [Magic Wire Recordings]
03. Kassem Mosse, “2d” [Kinda Soul]
04. Moritz von Oswald Trio, “Restructure 2 (Digital Mystikz)” [Honest Jon's]
05. Aardvarck, “Nosestep (Cosmin TRG remix)” [Rush Hour]
06. Rolando, “Junie” [Ostgut Ton]
07. Sandwell District, “Svar” [Sandwell District]
08. Tin Man, “Nonneo” [Absurd Recordings]
09. Area, “So Many Fireflies” [Kimochi]
10. Juju & Jordash, “Quasi Quasi” [Dekmantel]

Luke Hawkins
01. Bodycode, “I’ll Hold Your Hand” [Spectral Sound]
02. Newworldaquarium, “The Force” [NWAQ]
03. SND, “Atavism 2″ [Raster-Noton]
04. Ø, “Helium” [Sähkö Recordings]
05. Flying Lotus, “Parisian Goldfish” [Warp]
06. Moritz von Oswald Trio, “Restructure 2″ [Honest Jon's]
07. Actress, “Purrple Splazsh” [Honest Jon's]
08. Hieroglyphic Being, “Belief and Reality” [Mathematics]
09. Rick “Poppa” Howard, “Do What You Have To” [Rush Hour]
10. Tin Man, “Nonneo” [Absurd Recordings]

Steve Kerr
01. Andy Ash, “Freak” [On The Prowl Party Breaks]
02. Cally, “Wake Oops” [Fear Of Flying]
03. Virgo Four, “Look Into Your Eyes” [Rush Hour]
04. Tony Wilson, “New York City Life” [Bearsville]
05. Elphino, “I Just Can’t” [Somethink Sounds]
06. Roche, “Sk Rhythm” [Solos Recordings]
07. Brooks Mosher, “Intermetro” [Dolly]
08. Kowton, “She Don’t Jack” [Idle Hands]
09. Ital, “One Hit” [100% Silk]
10. Nina Kraviz, “Tanya” [Rekids]

Kuri Kondrak
01. Martyn/Mike Slott, “Pointing Fingers” [All City]
02. Shake, “Trackin” [Fit]
03. Tevo Howard, “The Age Of Compassion” [Buzzin Fly']
04. C-Beams, “Thumbling” [Uncanny Valley]
05. Ever Vivid, “Abandoned Virtues” [Open Mind]
06. BitterSuite, “Squeeze In” [Atmospheric Existence Recordings]
07. Juanpablo, “Dream” (J.T.C. Remix) [Frigio Records]
08. DMX Krew, “Worm Hole” [Fresh Up]
09. Arne Weinberg, “Motive Force” [Diametric]
10. Kassem Mosse, “2D” [Kinda Soul]

Chris Miller
01. Steffi ft. Virginia, “Yours” [Ostgut Ton]
02. Margaret Dygas, “We’re Not The Same” [Perlon]
03. Scuba, “Feel It” [Hotflush Recordings]
04. Tin Man, “Nonneo” [Absurd Recordings]
05. Joy Orbison, “BB” [Doldrums]
06. Tyrez, “Functional Love” [Dolly]
07. Kassem Mosse, “Untitled” [Trilogy Tapes]
08. Sepalcure, “No Think” [Hotflush Recordings]
09. Martyn x Mike Slott, “All Night” [All City]
10. Owen Jay & Melchior Sultana, “Days Gone By” [Underground Quality]

Jordan Rothlein
01. Tin Man, “Nonneo” [Absurd]
02. Steffi, “Reasons” (feat. Virginia) [Underground Quality]
03. Sepalcure, “No Think” [Hotflush Recordings]
04. Pawel, “Kramnik” (John Roberts Remix) [Dial]
05. Lauer, “H.R. Boss” [Live From Robert Johnson]
06. Steffi, “Nightspacer” [Ostgut Ton]
07. Mayhem & Distal, “Frozen Barnacles” [Surefire Sound]
08. Knifeshow, “Hallways” [Fancy Restaurant]
09. Rolando, “Junie” [Ostgut Ton]
10. Margaret Dygas, “We’re Not The Same” [Perlon]

Andrew Ryce
01. Kevin McPhee, “Get In With You” [nakedlunch]
02. XI, “Gamma Rain” [Orca]
03. Croms, “Invisible Cities” [Exit]
04. Boddika, “Daze That Were”
05. Joel Mull, “Holographic” [Truesoul]
06. Salva, “Icey” [Friends of Friends]
07. Steffi, “Reasons” [Underground Quality]
08. Contakt, “Not Forgotten” [Local Action]
09. Mode, “Stepping Stone” [Exit]
10. DJG, “Automatic” [Brownswood]

Jack Scourfield
01. Gil Scott-Heron & Jamie xx, “NY Is Killing Me” [XL]
02. Braiden, “The Alps” [Doldrums]
03. Sepalcure, “Your Love” [Hotflush Recordings]
04. Krystal Klear, “Tried For Your Love (Hudson Mohawke Remix)”
[All City]
05. Vindicatrix, “Hume” [Mordant Music]
06. Bakey Ustl, “A Tender Places” [Unthank]
07. Cassie, “Me & U (Brackles Remix)” [Local Action]
08. Chasing Voices, “Ex Nihilo Nihil Fit” [Preserved Instincts]
09. Katy B feat. Ms. Dynamite, “Lights On” [Rinse]
10. Mzo Bullet, “Casablanca” [New State Music]

[Sandwell District]

Amid numerous anonymous labels, many of which are growing less mysterious by the day, Sandwell District has somehow retained its enigmatic edge. This is somewhat peculiar, as all of the artists associated with the label are well known, highly respected and have been around since the 90′s. Yet their blog provides more questions than answers, and by placing little importance on track titles or artist credits, Sandwell District have strongly defined themselves as a collective. Two new multi-artist sampler singles, which are apparently appetizers for the forthcoming Sandwell District collective album, only reinforce this perception.

Sampler one kicks off with an “Intro” that consists mainly of the ominous sounds featured on last year’s “Variance” and industrial drones. Things really begin in earnest with a shuffling bit of techno from Function, which combines bubbling, arpeggiated melodies and sweeping neo-Detroit synths for one of the more grand and sprawling Sandwell tunes yet. While Function’s offering owes a good deal to early Belgian techno, it manages to feel especially timeless, even in a musical climate choked by conspicuously retro house and techno. The record comes to a close with a short, uncredited bit of bass rubs and drones at B2, but the B-side’s main attraction is the Regis edit of a Silent Servant tune found on the second album. Its slight stepping attitudes and hissing, affective melodic touches, reveals some of the softer side of the British Murder Boy, making the best use of its source material. However, Silent Servant’s original, stocked in whose submarine radar bloops, driving percussion and dour melodies, easily emerges as the highlight of the two records. Regis reshapes it nicely, but Juan Mendez puts his best foot forward and produces perhaps one of the most stunning tracks of his career. It’s epic and misty-eyed in the way few techno tracks are, and while Sandwell District may have championed a sort of austere brand it shows they’re capable of much more.

The opening atmospherics of sampler two lead into an attractive ambient piece by Female, here as a “Live Extract,” which fits in well with the similarly melodic and aurally pleasing tracks found across both samplers. Regis re-edits this one as well, but to greater effect than before. Rediscovering Regis’ Downwards albums has been a real joy for me, and while doesn’t approach the sonic roughness of his 90s material the harsh vibes and underlying brutality still remain. Silent Servant provides a second tune on sampler two, this one colder and more heads-down as the aforementioned radar bloops reappear accompanied by backing drones and delayed voices. With over 40 minutes of music on offer here, plenty of room is left to be filled in once the eventual album rears its head. Yet these teasers reveal that Sandwell District are not only maintaining a high standard of quality, they’re branching out into moods and tones that their many admirers might not have expected. And by expanding the scope of their sound without compromising their vision of “true” techno music, the Sandwell District collective will continue to add adherents to their already devoted legions.

[Sandwell District]

Sandwell District have been making acerbic waves in the techno scene for a couple of years now, and in 2009 it’s common knowledge that if you want proper techno you’d best head to Sandwell. Given that every one of this year’s SD releases, aside from Silent Servant’s fantastic “Negative Fascinations,” has been technically a remix, the choice to abandon the usual procession of catalog numbers in favor of the new “SDRM” code for this new 12″ of remixes is a surprise. Regardless, Berghain favorites Ben Klock and Norman Nodge are on deck to reshape Function’s massive “Disaffected” while anonymous Sandwell insider, CH-Signal Laboratories lends their hands to continue the Variance remix project from earlier this year.

After getting the remix treatment from Function and Regis in the form of their excellent “Subzero” mix, Ben Klock returns the favor by toning down the intense oscillating bass tones of the original “Disaffected” and establishing a more languid pulse. It’s a bit pedestrian as far as Klock is concerned, lacking some of the personality and “Klockisms” that really make his work stand out from the rest, but there is still a lot there and it makes for a great techno track. Norman Nodge also takes on “Disaffected” and keeps things rather restrained. A flurry of hi-hats and rimshots, a steady kick, and just a small fragment of the original’s bass line make up the only sounds here, but Nodge’s know-how keep it from ever becoming tedious. He takes no prisoners with his version and turns out the most effective mix in the package, staying true to the original’s attitude while being drenched in Nodge’s personality.

Finally, CH-Signal Laboratories take on “Variance”, which is a good enough version, although at this point there doesn’t seem to be much more to mine in “Variance.” Assuming that Function’s version was the original, the bleeping tones, delayed bass sounds, and much of the snappy percussion are kept it in place, but while it’s a solid mix and certainly serviceable on the floor one wishes the fourth “Variance” mix would be more like Marcel Dettmann’s: reshaping the entire tune from the ground up. While it’s unfortunately the least essential Sandwell District 12″ to be released this year, this is a record most labels would be itching to put out, and for that it deserves your attention.

Where is the original version of “Variance”? What about “Variance II”? Who is N/A (or is the artist’s name just “not available”)? Thing is, the original artist’s name doesn’t really matter; the only name that does is Sandwell District. They’ve always had a penchant for facelessness, and with the recent release of the “Variance Edits” over two pieces of vinyl they’ve gone a step further into anonymity. But you always know where you stand with Sandwell District, and here they give you exactly what you ordered: “True. Techno. Music.”

Function is up first with a dark, foreboding slice of techno on a beautiful piece of blue vinyl. Starting with some otherworldly sounds, ominous bass tones soon settle in amid heavily delayed rattles and quirky two note bloops. It takes its time setting up, but once the destructive kick drum hits with those trademark Function claps you can almost see a packed warehouse with strobes blaring. Marcel Dettmann is next, wading through a murky swamp of bass with low, twisted synth noises bubbling at the surface. There’s a faint hint of melody somewhere, but it’s too far submerged below the cloudy water to make out. Regis’ take of “Variance IV” incorporates the rhythms of dubstep slightly, which when coupled with Mika Vainio-esque bleeps, reverberating bass notes and a relentless kick drum make for an extremely accurate picture of techno in 2009. Sandwell District are uninterested in trends; they do techno. Hordes of producers just happen to follow in their wake.

[Sandwell District]

The label Sandwell District has always been a mixed bag. In an RA profile, label keystone Function, (or Dave Sumner of NYC if anonymity’s not your thing), explained that Sandwell release are selected by any of the artists involved. So the aesthetic values put forward can therefore have as much to do with high concept as with pushing a consistent label sound. This seems like a blessing with the arrival of Function’s “Anticipation” single, as it sounds a little different from the rest of Sandwell’s catalog and must also rank as its strongest output to date.

Both cuts here are stripped down, hypnotic, and more trancey than chugging. Dettmann, Fengler, and Redshape are the obvious contemporary references for this sound, and A-side “Disaffection” shares more than a little in common with the previous Function release on Sandwell, “Isotope.” “Disaffection” feels more fully matured, though. Each little snare seems to be crossing a “t” or dotting an “i,” and in this sense seems to form a perfectly self-contained sonic world. “Burn” is better still. It stretches out sinuously over the leisurely length of ten minutes, which makes it one of the longest Sandwell tracks; but “Burn” has, indeed, more than enough sizzle to hold attention across its length. About six-and-a-half minutes in, just when things might have wound down, a welcome breath of life comes into the tune: no profound change, but the longer time gives the track room to lose the listener in its languorously paced smolder.  If you’re feeling the mojitos and BBQ and want something to suit the sunshine, maybe look elsewhere. Neither “Disaffection” nor “Burn” are exactly breezy and summery, but it’s a good bet they’ll still be brightening many a playlist come winter.