Syncrophone France Schallplatten & CDs

Review: Andres Klein is Ackerman, and My Dub is his fresh new platter on Syncrophone. It's a classy fusion of minimal, house and tech with, as the title suggests, dubby undercurrents. 'My House' is first up and comes with some gospel inspired vocal stabs over slamming drums. The title cut is more techno leaning, with tough percussion and chords smeared all over the beats. 'No Vacancy' then brings some grit and menace with its coarse surfaces and prickly hits. Last of all, 'No Vacancy' gets a remix from Swedish techno stylist Skudge who smooths things out into pristine loops that roll with great dynamics.

Review: Stephen Brown is a Scottish producer known for his deep, Detroit-influenced techno. Active since the 1990s, he's released music on labels like Transmat, Skudge, and Subject Detroit. His productions blend melodic elements with rhythmic precision, a sound he's been honing and tinkering with for nearly 30 years. The 'Variations' EP on Syncrophone is a prototypical example of his sound. Each track is underpinned by a blend of skipping upbeat house rhythms with classic Detroit pads. The first track 'Compare' even adds some weird percussive sounds in the background and an ambiguous vocal sample that could be a child, or the nearby rapturous chants of a pigeon surely appreciating the groove as much as we are. The second track 'CZ3' is a raw groover with overdriven kicks and dry synth hits. One for the 'Djax-Up-Beats' heads! Track three 'Replika' is our choice cut, with a synth lead that sounds straight from dub techno but with more groove than the majority of tunes that you'll find in that genre. The final track 'The 5' has the biggest kick drum of the release which is sure to tear down any club floor is played at the right moment. An EP for the heads and the dancers.

Review: The prolific Dutch powerhouse that is Conforce (aka Versalife aka Boris Bunk amongst other things) is in techno mode here with this new green-marbled 12" on Syncrophone. Commuting Part 1 opens with the quick-stepping and deep dub techno rhythms of 'Octave Echoes' which is delightfully fluid. 'Stable Velocity' then bids up impossible smooth dub loops and watery pads into something buoyant and stirring both physically and emotionally, and 'Self Assessment' then ups the pace with thudding, infectious kicks and plenty of rippling synth details. 'Highway Hypnosis takes a more paranoid and stripped-back approach and closes out Conforce's finest EP in some time.

Review: On Synchrophone Records comes Conforce for with second edition in the Commuting series, bringing stygian control room techno to already chapped ears. Sometimes, to feel good on the floor, warmth isn't what you need; and these further four fan-greasers are perfect complements for said latter kind of mood, the cold and unattached unjamming of inner vibes. With coolly bureaucratic track titles like 'Recuperation' , 'Self Assessment' and 'Stable Velocity', Conforce's series has succeeded in portraying the secret joys of humanity's greyer modern face; the tracks here of course continue to fit us in sleek uniform, now deploying such neo-futuristic cyphered titles as 'SCC-ML' and 'RTM-Zuid', the meanings of whose acronyms you'll just have to deduce from the zapping, emissive sound design yourself.

Review: Synchrophone proudly present the latest Gerard Hanson aka. Convextion release; a head-turner moment, since the last proper EP by the 2845 artist was over seven years ago, with Vectorvision for the EP 'Zy Clone'. Since then, Convextion has been hard at work, eschewing all concavities for a purely thermal, fluid sonic exercise. 'Torc' and 'Andas' are unsettling, looming techno visions, confecting a hypothetical world in which the hard sciences have taken total precedent over the human, resulting in a rapid dissipation of heat. The only energy that remains is that which is fed through the machine, as further evidenced on the sinister murk-movements on ERP's version, its two-tone Reese stab suggesting utter indefatigability when begged for mercy.

Review: Synchropone reissue Ellery Cowles' iconoclastic 'Sonic Control' EP, originally released in 1995 on the legendary Djax-Up-Beats label. We've no idea of the kinds of sonic preservatives Cowles injected these beats with, but we do know that the Chicago DJ and producer's debut EP has - to indulge an old but gold phrase - "stood the test of time". Just as it was, the reissue preserves the original's sound, albeit now brings it to marvellous marbled blue splatter vinyl. Best among the bunch here are Cowles' career-definer, 'It's Taking Control', across which the 4x4 still janks and tussles slightly, as though the imperfections of whatever medium it was made with were forcing it to lapse the usual perfect timing of techno. And the title track, too: tintinnabular to the point of tittilating, we're bowled over by its singular, bell-laden universe, by which point it seems more or less proven that Cowles really did exercise at least something along the way towards total "sonic control".

Review: Deenamic steps up on French label Syncrophone with the aptly titled 'Dub Reflections EP'. Having released on high-grade imprints like Neroli, Yellow Jackets, Visions Recordings and Mate since debuting in 2019, David Pradera has been slowly but surely carving out a fine reputation with his profound house sound. His latest effort features four dubbed-out house jams full of atmosphere and texture. Opener '800 Mistakes' sees moody chords drifting over stripped-back drums, staccato noise and understated bass, before 'Hal 2024' maintains the rich atmospherics with simmering swells, driving stabs and propulsive bass notes. The chord progressions on 'Moonbus' echo into the night as a pounding kick maintains the rhythm, while the undulating bass and piercing drums of 'Think It's Not Illegal Yet' combine with a dramatic arrangement for a gorgeously nocturnal finale.

Review: Mike Dehnert delivers a versatile four-track EP of his signature slippery machine funq on Syncrophone, with tendrils of influence unfurling in a plethora of directions, from DJ Rush and Paul Johnson's springheeled Chi-town bump to the more recent soul leanings of John FM and Omar S' FXHE alumni. Opener 'Un' is the most conservative, with a restless shuffling b-line and surgically cropped hats assembled for maximum club pressure, while 'Deux' is a spacious, clattering soulful trip full of small room synth squelch and honeyed vocal mantras. The flip is both more pensive and noisy, with the distant hydraulic wheeze of 'Trois' giving way to the wonky, swaggering gait of the closer 'Quatre'. Proper.

Review: Abe Duque's What Happened? EP, originally released in 2004, remains a timeless gem that played a pivotal role in igniting the resurgence of interest in acid house and jackin' styles. With expertly crafted homages to legendary tracks like Adonis's 'No Way Back,' Duque injects a modern twist by adding infectious party vocals, resulting in an irresistible formula that set dance floors ablaze then and continues to do so now. The EP's title track, 'What Happened?' epitomizes the essence of this revival, with its pulsating beats and hypnotic acid lines that transport listeners to the heart of the underground rave scene. On the flip side, 'Disco Nights' delivers funky grooves that evoke the spirit of classic disco, while 'Acid' pays homage to the genre's origins with its infectious acid house vibes. What else can you say? A stone cold classic.

Review: Every new Carl Finlow record release brings an enthusiastic interest to those who follow him. Carl's robotic electro prowess is on full display on the A-side in 'Heed'. Fans of early 80s electro, Kraftwerk and the future of the genre, swear by this guy. 'Overlord' is a deeper groove that reminds of his otherworldly Silicon Scally moniker. 'Expansion' is just down right dirty. Nuff said! Dangerous stuff from one of the most consistent producers in futuristic electro.

Review: Fred P continues to be a prolific driving force in deep house, with his own Private Society label carrying a huge amount of his work these days. On this latest single he maintains one of his other close working relationships with Parisian institution Synchrophone, delivering three cuts of his refined, endlessly immersive music. 'Dance Of Rhythms' is a driving, sharply defined cut with a lot of action occurring in the lower register while the higher frequencies have acres of space to stretch out in, all the better to keep your head mellow while the hips sway. 'The Beauty In The Sound' is a more pattering affair and 'Vibe Science' favours a nagging drum pattern which nods towards jazz funk as much as techno. This is quintessential Fred P mastery, through and through.

Review: Fresh from delivering a fine album of drone and ambient excursions on his own Private Society imprint - the inspired Message To The Universe - Fred Peterkin returns to the dancefloor via a surprise outing on Synchrophone. As usual, what's on offer brilliantly blends deep house rhythms and textures with the kind of more spacey and dubbed-out elements more often heard in Detroit techno and hypnotic tech-house. A-side 'The Sound Exchange' is particularly potent, with Peterkin wrapping a typically tough-but-tactile groove in ghostly chords, hand percussion hits and echoing synth riffs. Over on side B, 'The Sonic Tour' is a brighter and more colourful riff on a similar sonic blueprint - albeit with deeper, heavier sub-bass and sustained synth strings - while 'The Kingdom' pairs a thickset groove with sweeping strings and twinkling pianos.

Review: Legendary techno producer & one-time member of LFO Gerrard aka Gez Varley returns using his G-Man alias to present us with four tracks of dub techno magic. Anyone familiar with his classic tracks like 'Quo Vadis' and 'Spartacus' will know what to expect here. Rhythmic basslines, grooved out percussion & dubbed out synth lines on top. On the A-side, 'Catch' kicks us off with typical minimalist groove, the tempo neither too fast nor too slow. 'Dice' is a classic example of dubbed out tech house, perfect for DJs looking for a transition tool. On the B-side, 'Throw' is made for late night car journeys on European highways. Closing out the release is 'Strike', possibly the funkiest track of the four. A release for anyone into modern and classic Detroit influenced dub techno.

Review: Youssef Benjelloun aka Kosh may run Convergence out of his own Morocco studio, but this time he lends his talents to fellow patrons Syncrophone, for close to 20 minutes' worth of deep techno prowess. With its Ibizan chords and subtly varied sections, 'Lost In Change' proves the lability of techno over time; that slow phrasal evolution need not conflict with in-the-zone flow states. 'No Exit', our favourite track otherwise, brings absurdist Sartrean machinery to a sequenced hell on Earth, going relentless on the 909 toms and claps.

Review: Copenhagen's finest duo deliver deep, hypnotic dub techno, straight from the source. 'Wind' strikes us zephyrously with tizzy stabs and harder grooves, whilst 'Stylus' impresses with a relatively minimal flick of the pen, making for a quick and effective intra-vention. 'Viper' and 'Garth' run with this sense of freedom, unburdening themselves with gaseous headrooms, ample spaces in which to let the reverse hits and tonal whacks breathe. A worthy debut for the French fabulists over at Syncrophone, though Merv are hardly new to the game.

Review: Moy's work in general operates in the gaps between the freed up funk of breakbeat and the prodding machine grooves of electro, but most of this four tracker definitely tends twoards the latter of those two influences. Opening track 'Deepening 991' employs some brilliantly nose-trembling bass stabs and Carl Finlow's remix of it following hot on its heels with a darker, more subdued vibe, its wiry synth line proving its catchy hook. The EP's title track is frenetic acid with a breakbeatier edge that makes way for a four-to-the-floor bang, lending the whole thing a vintage hardcore edge only with souped up 21st century production. 'Warphenge' closes the set with addictive b-line behaviour and some 80s-edged synths. All in all, it's a genre-mashing package with something to offer a number of different type dancefloors.

Review: Fresh from collaborating with fellow Dutch techno legend Speedy J, man-of-many-aliases Steve Rachmad (AKA Sterac, Sterac Electronics, Rachmad Project, Tons of Tones etc) makes his bow on Synchrophone. The French label has taken a deep dive into his catalogue and picked a couple of genuine gems to reissue. Both tracks originally appeared on the same Rotation Records release way back in 2000. On side A you'll find 'Tir Na Nog', a deliciously raw, jacking and crunchy workout in which stomping techno drums are peppered with hissing cymbal patterns and spacey stabs. Those stabs reappear on the more musically expansive 'Divide & Conquer', where warming deep house chords, clonking bass and sweat-soaked drums catch the ear.

Review: Jeroen Search's 'One Dimension' EP, released on Syncrophone France, delivers a robust techno experience with a nod to Detroit's iconic sound. The title track, 'One Dimension', has a big, expansive feel, drawing from Detroit techno's classic roots. Its driving rhythms create a powerful atmosphere perfect for the dancefloor. 'Night Driver' follows with a deeper, more energetic groove that builds steadily, keeping the momentum rising throughout. 'Cipher' brings a heavier edge, combining a brooding bassline with melodic accents that add balance and depth. 'Snake Shifter' closes out the EP with intricate percussion and an alien-like sound, rounding off the release with a sharp, futuristic touch.

Review: Macedonian-in-Berlin Stojche continues his faithful exploration of deeper strains of techno with this entry for esteemed French label Synchrophone. It's the first time the Tangible Assets artist has appeared on the label, and he does so with the statement drop of just one original tune, the frankly epic 'Granada'. Laying down a swirling dream of synth strings and fluttering Rhodes, the core of the track is a soothing balm driven by bouncy, strident 909 kicks, but the real magic comes from the switch up as the pads give way to fast-paced, classically informed techno rush right up there with the best of Detroit. Meanwhile, the B-side is handed over to the mighty Convextion, who delivers a version which submerges the broad sweeping pads and focuses on building the forwards momentum.

Review: Acid trance-inducer Johannes Volt delivers several new blissful blowouts for French label Syncrophone, demonstrating a remarkable ear for progression and variation, when the two are paired right (trust us, it's rare). 'Inner Fusion' brings a mesmerist's magic to acid trance, with opener 'Starlight Tunnel' plunging us into the titular metaphysical tube, and follow up 'Hidden Structure' revealing the abstract topological construct found at the other end. A shaman's intuition is felt on the B-side in equal measure, with 'Inner Structure' and 'Drawbridge' portraying much deeper and increasingly dubious, yet no less vital, sonic goings-on.

Review: Orlando Voorn is a long-time techno favourite who joins the dots between the Mid-Western US template and Europe's own take on the genre. He's got an arsenal of classics but also knows how to kick out brilliant new jams. Syncrophone is where he lands now with his 'Boom Boom' EP which is a great embodiment of what he does best. The title cut is cantering than drums and hammering hits infused with some unsettling synth stabs. 'Zen' brings a little funk to the drum programming and 'Delirium' zones you out with some more heady pads before 'Knock' nails you to the floor once more with wonky acid and some freaky breakdowns.