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viewing 1 To 25 of 32 items
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12"
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ACIDTEST 021EP
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Beat machine freak duo Bill Converse and Patricia (Max Ravitz) present 380/750, a new EP on Acid Test that blends the two producers' singular styles to form an emotive "introspection on the dance floor" experience over the course of four tracks. Recorded at Ravitz's Brooklyn studio over the course of two days, 380/750 features raw, no-multitrack, no-edit live recordings that showcase the duo's intuition for expressive rhythm tracks. Considering Converse's roots in the '90s Michigan rave scene, and Ravitz's Chicago upbringing, the midwestern strains really shine through. With rhythm-composer mutations, acid dripping over atmospheric synth textures, and the ever-present jack throughout, 380/750 offers a deep sound to get lost in that feels both new and classic at the same time.
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12"
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ACIDTEST 001-1
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Acid Test repress the very first Acid Test 12", a now-renowned outing by Vienna's Tin Man aka Johannes Auvinen. Acid Test 01.1 the repress serves up the original "Nonneo" alongside a new 2024 rework of "Mystified Acid" on the A-side, while the B-side sees the revered hypnotic "Nonneo" remix by Italian techno master Donato Dozzy, rounded off by long-time favorite "Love Sex Acid" from the Acid Acid album. It's a sweetly balanced package of vintage Tin Man vibes, always searching for the heart in the machine. Mastered and recut by Rashad.
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12"
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ACIDTEST 020EP
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Vienna-based producer and 303 maestro Tin Man returns to Acid Test for his first solo EP for the label in over five years. It's another impeccable outing of romantic acid variations, especially tailored for unforgettable dancefloor revelations. Tin Man has been setting the pace for forward-looking acid lovers for close to two decades now, and on his 15th Acid Test appearance he takes the vibe back to early and proto-house roots, stripping back the musical elements while layering in the euphoria with four perfectly crafted slices of feelgood 303. Opening track "Hidden Acid" already sounds like a long-lost classic, with strings draped over bouncy acid and motorik drums, stretching out over nearly nine minutes, and beautifully capturing the feel of house music circa 1991. "Swaying Acid" comes in all propulsive, toms and congas setting the foundation for melodic acid lines to weave through your heart strings. On the B Side, "Running Acid" is fully optimized for the autobahn fast lane -- a gradual, slow-filtered acid meltdown that builds and releases in tandem with driving hats and vaporous pads that hang over the track like early morning mists. "Wrapped Up Acid" brings the EP to a fitting close, slowing the tempo for a low-key easy dance excursion par excellence -- smooth yet spikey 303 riffs punctuate the chords that drift through with a hint of Badalamenti in the progression. With the Hidden Acid EP Tin Man might hark back to more vintage times, but the emotive power is as strong as ever. The naivety of the '90s is instead replaced with a conviction behind the musical choices that brings even more weight to the heartwarming vibes. This is acid in some of the best shape it's ever been, enhanced and upgraded specifically for the dance.
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LP
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ATLP 017LP
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Repressed. Two visionary explorers of the acid and dub intersection team up for a seven-track LP, In The Afterworld, on Acid Test. Om Unit and TM404 have both been researching production and compositional elements in the crosshairs of dub and acid for the last few years -- Om Unit most notably with his Acid Dub Studies 1 & 2, and TM404 with his Acidub album in particular. Om Unit has been a longtime fan of TM404's use of the TB-303 and the deconstructed space he brings to the house and techno template. Meanwhile, Om Unit's own leaning towards breaks and reggae instrumentation has offered a different approach to the acid sound they both love so much. So, an LP with Acid Test seemed the perfect opportunity to combine those approaches and see what kind of mutations could be discovered. The result is a primordial soup that is in parts acid, dub, breaks and ambient, full of spaced-out synths and psychedelic bass, where the pair enjoyed building tracks with a feel for where the music wanted to go, irrespective of stylistic constraints. Rolling opener "Motorway Acid" sets the pace high and strong, conjuring both wide open spaces and fast-paced travel at the same time, with weightless pads, stroboscopic breaks and a mighty 303 riff that can teleport you to the middle of a foggy dancefloor. "Microdose Mondays" on the other hand, slows the tempo down and veers into cosmic territory, with perfectly dubbed drum rolls and burbling squelch. But it's "London Stock" that kicks the album into hyperspace, finding its futuristic steppers groove somewhere in the answer to the hypothetical question "what if Shaka had produced Stingray?" Speaking of underwater electronics, "Meanwhile In The Smoking Area" delves deep into submarine territory, delivering the kind of bass weight and sonar acid signals you'd need a diver's suit for. It's a vibe that's continued on the tracks "Thursday" and "Refracted", and speaks to the record's title -- otherworldly, dreamy bass meditations that aren't of this realm. The album closes out with "Praha", a pacey yet ambient vista of warm wide synths, layers of 303, and dub echoes that sound like the machines are slowly coming to life. It's in this altered state that the album resides, somewhere between worlds and styles, emerging out of the space around the TB-303 that Om Unit and TM404 have created, with their open-minded approach to the music and to this collaboration.
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12"
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ACIDTEST 019EP
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Detroit's Marcellus Pittman returns to Acid Test following his Unknown Species track featured on the 10 Years of Acid Test compilation, he's back with his debut EP for the label. Juddering mechanical beats, layered percussion and gurgling 303 basslines are on the menu, from one of Detroit's finest. Housed in a full-color sleeve, with a photo by Marcellus himself.
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12"
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ACIDTEST 018-1
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Johannes Auvinen (Tin Man) and Max Ravitz (Patricia), two devotees in the cult of the TB-303, return to Acid Test with the Celestial Body Music series, a follow up to their 2020 LP Powers Of Ten (AT 011LP). Recorded in Ravitz's studio in Asheville, NC, Celestial Body Music once again showcases the pair's penchant for raw yet emotive dance music. With Auvinen's signature TB-303 programming and Ravitz's typical melancholic flair, the duo's styles merge seamlessly over the course of 8 tracks that harken back to the heyday of American techno and house. Following on from Powers Of Ten, the pair continue to fix their eyes firmly on the stars, as Celestial Body Music's song titles conjure visions of listening to Dance Mania 12"s on the ISS. With a tonal palette that features the well-trodden sounds of classic analog hardware like the TR-808, TR-909, TB-303, and SH- 101, Ociya demonstrate their ability to breathe new life into these old instruments through thoughtful programming, arrangement, and mixing. This is made all the more significant when considering every song was recorded live to 2-track with no editing over the course of a few days. Sweet and savory both, the new material strikes a perfect balance between emotive sensibility and dancefloor appeal.
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12"
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ACIDTEST 018-2
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Johannes Auvinen (Tin Man) and Max Ravitz (Patricia), two devotees in the cult of the TB-303, return to Acid Test with the Celestial Body Music series, a follow up to their 2020 LP Powers Of Ten (AT 011LP). Recorded in Ravitz's studio in Asheville, NC, Celestial Body Music once again showcases the pair's penchant for raw yet emotive dance music. With Auvinen's signature TB-303 programming and Ravitz's typical melancholic flair, the duo's styles merge seamlessly over the course of 8 tracks that harken back to the heyday of American techno and house. Following on from Powers Of Ten, the pair continue to fix their eyes firmly on the stars, as Celestial Body Music's song titles conjure visions of listening to Dance Mania 12"s on the ISS. With a tonal palette that features the well-trodden sounds of classic analog hardware like the TR-808, TR-909, TB-303, and SH- 101, Ociya demonstrate their ability to breathe new life into these old instruments through thoughtful programming, arrangement, and mixing. This is made all the more significant when considering every song was recorded live to 2-track with no editing over the course of a few days. Sweet and savory both, the new material strikes a perfect balance between emotive sensibility and dancefloor appeal.
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AT 016CS
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Lerosa's fourth full-length, Catena, is also his second for Berlin-via-LA label Acid Test. It sees the Dublin-based producer once again draw deeply on his diverse influences -- dub, industrial, electro, trance, funk, IDM -- and transform them into a sound signature that has always been uniquely his own. This alchemy is no accident. Rather it is driven by Lerosa's ongoing pursuit of the fundamental meaning of dance music: to immerse ourselves in sound to the point where our only desire is to move and feel in the moment. Hence how, on Catena, the slow and sensual sway of a cavernous bit of dub can sit side-by-side with hands-up trance-like ecstasy, and all still sound like Lerosa. This achievement is the result of a dedicated daily studio practice. Each track starts from a dynamic studio jam in which Lerosa plays drum machines and synthesizers live and then overdubs them with further modulated layers. He uses looping techniques to build up the density of certain instruments while mixing the layers on-the-fly, using something as unassuming as an iPad. This imbues each track with a spontaneous shifting quality that defines the entire album. What comes through is a sound that speaks of Lerosa's love for the studio, for the tangible substance of an audio frequency -- analog and digital, raw and processed, pure and saturated -- and the intangible, indeed bewitching mystery of how these frequencies can transport you to other places.
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12"
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ACIDTEST 016EP
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Accompanying the cassette album of Lerosa's fourth full-length, Catena (AT 016CS), this heavyweight 12" features two originals from the album and two remixes from familiar faces: childhood friend Donato Dozzy and long-time fellow traveler Jordan GCZ (of Juju & Jordash). Album closer "Suite De Paris" places pitch-bent liquid acid over a huge skanking bassline, the perfect material for Dozzy to make hay with his simmering techno take. Meanwhile, album opener "Apollo" churns with industrial fervor, before Jordan GCZ reduces it down to its acid techno essence, leaving little space for you to catch your breath.
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3LP
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AT 014LP
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Limited 2023 restock. Ten years ago, Acid Test began with a simple concept: each track the label released would make use of the Roland TB-303. Like a producer purposefully paring down their studio setup, or the continuous imperative within underground electronic music to reduce, this concept engendered creativity with the introduction of what seemed to be an aesthetic limit. However, the decade that followed, which now culminates in the triple-LP compilation 10 Years Of Acid Test, proves acid is limitless. That the Berlin-via-LA label would expand upon the classical conception of acid house and techno is no surprise considering the cast of characters that have come in fold over the past decade. 10 Years Of Acid Test gathers key material from the label's extended family of acid acolytes. There's that Vienna-via-LA maestro of sad, elegant acid Tin Man (Johannes Auvinen), whose "Afters Acid" is both a highlight within his prolific catalog and a distillation of his symphonic approach to the 303. Detroit giants Erika and Marcellus Pittman present their respective and singular bass line visions. Erika, the Interdimensional Transmissions lynchpin, crafts a dark, delicate take on broken techno on "Violet Fungus" while Pittman continues his cubist house explorations on "Unknown Species". Irish-based master Lerosa, as well as Delsin affiliate VC-118A, delve into downtempo atmospherics. Meanwhile, Japanese deep techno virtuoso Wata Igarashi, SUED co-founder SW. and Patricia (one-half of Acid Test act Ociya) use acid as a creative jumping-off point for complex melodic concepts. Wata layers an orchestra of synth-bliss drone overtop a squelchy bassline on "Ephemeral". SW.'s "ChaIAnJAzzz" cycles through an array of dusted chords eventually landing in skewed, fuzzy rave nostalgia, anthemic chords held aloft by a wicked UK-flavour bass line. Patricia's "Higher Still" explores dreamy, IDM-flavored acid, cinematic synth lines counterbalanced by propulsive, squelching acid. Acid Test devotees will be thrilled at the return of various luminaries from the catalog, including Achterbahn D'Amour, Skudge, AAAA, John Tejada and Donato Dozzy. There's new blood too. San Francisco up-and-comer Sepehr makes his label debut with the excellent "Persian Acid Prince", as does Andreas Tilliander's beloved hardware techno project, TM404. Ten Years Of Acid Test is a valuable portrait of a group of artists linked by a dedication to innovation within acid, in line with the genre's storied roots. Over ten years, Acid Test has gracefully made a case for the 303's past, present and future, the story of acid continuing to unfurl in unpredictable, addictive patterns.
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12"
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ACIDTEST 015EP
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2021 restock. As Ociya, hardware freaks Tin Man (Johannes Auvinen) and Patricia (Max Ravitz), come together in unholy acid matrimony on a definitive double-album, Powers Of Ten. Over a prolific run of records for Acid Test and his own Global A, Auvinen has expounded upon the promise of "Nonneo" (named one of Resident Advisor's 2010-19: Tracks Of The Decade), unearthing new, emotional vistas from the Roland TB-303. Ravitz, meanwhile, matches Tin Man in studio ethic, establishing himself as one of North America's hardware masters on records for Ghostly and Opal Tapes. The 12", simply called Acid Test 15, features a remix from Plasmic Eddy.
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2LP
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AT 011LP
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As Ociya, hardware freaks Tin Man (Johannes Auvinen) and Patricia (Max Ravitz), come together in unholy acid matrimony on a definitive double-album, Powers Of Ten. Over a prolific run of records for Acid Test and his own Global A, Auvinen has expounded upon the promise of "Nonneo" (named one of Resident Advisor's 2010-19: Tracks Of The Decade), unearthing new, emotional vistas from the Roland TB-303. Ravitz, meanwhile, matches Tin Man in studio ethic, establishing himself as one of North America's hardware masters on records for Ghostly and Opal Tapes. What couldn't have predicted is how well the parts merge. Cuts like "Ghost Moons" channel the hazy IDM legacies of the past, while "Hopeful Galaxy" mixes a plaintive Rhodes motif with a hopeful 303 line for the perfect "tears on the dance floor" cut. The track titles on Power Of Ten -- a perfect melodic techno LP generously spread across two records -- are celestially minded ("Gravity Knots", "Star Scraping") and indeed, the cosmic metaphor is apt or the newly-formed duo. On Powers Of Ten, Tin Man's acid lines rocket through space like brilliant, shooting stars. His signature orchestral acid moments are given the perfect backdrop, the nebula of Patricia's rich atmospherics and melodies. The album was recorded live to 2-track in Patricia's studio in New York, no edits.
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2LP
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AT 010LP
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Acid Test on the record: "To know Lerosa is to have a huge amount of respect for him. The Dublin-based, Italian producer isn't concerned with the limelight. Rather, his studio philosophy resembles the Japanese concept of 'kaizen' a workman-like, incremental improvement. Leopoldo Rosa's debut for Acid Test is the producer's first album in eight years, but since then he's put out in the neighborhood of 15 EPs for the likes of Idle Hands, Ferox, and Saft, honing in on his own lush sound, which weaves effortlessly between deep house, acid and electro. He applies all these patient lessons on Bucket Of Eggs, the ten masterful tracks fit perfectly within the label's concept. Yet Rosa, like the label's stable of 303 auteurs (Tin Man, Recondite, John Frusciante, Pepe Bradock) opens up bold new vistas for the subgenre. On 'Conjurors', he spends half the track building up atmosphere so thick and dubby you could cut it with a knife, before introducing an acid line and jack track heralding back to the acid's maddening, revolutionary roots. About halfway through the set, Lerosa is done setting the stage, and thusly delivers a string of freakishly good late night tracks. For Lerosa, the hips and the head work in concert -- 'One Is Too Short''s no-nonsense rhythm section perfectly balanced by the track's dreamy synth and zero-gravity piano breaks. On 'Self Inflicted', he joins a rarified class, synthesizing electro funkiness, widescreen ambience, and acid counterpoint. On initial contact, Lerosa's Bucket Of Eggs feels astonishing, an expertly-paced, near-perfect LP. But for those who have been following the low-key producer, it feels like a natural culmination."
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12"
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ACIDTEST 014EP
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On their debut album as DOVS (AT 009LP), Tin Man and AAAA summon the ethereal spirit of acid. Tin Man, AKA Johannes Auvinen, has been studying the emotional potential of the Roland TB-303 for 15 years now, and AAAA (Gabo Barranco), a fixture of the Mexico City underground, might as well be his acolyte. While the coincidental similarities of their studio and live approaches make this collaboration feel natural, even expected, Silent Cities is anything but. Acid Test 14 features remixes from select tracks both Tin Man & AAAA individually as well as label mate John Tejada.
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2LP
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AT 009LP
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On their debut album as DOVS, Tin Man and AAAA summon the ethereal spirit of acid. Tin Man, AKA Johannes Auvinen, has been studying the emotional potential of the Roland TB-303 for 15 years now, and AAAA (Gabo Barranco), a fixture of the Mexico City underground, might as well be his acolyte. While the coincidental similarities of their studio and live approaches make this collaboration feel natural, even expected, Silent Cities is anything but. You'll recognize most of the elements here -- the ubiquitous acid box and hardware drum machines -- yet Auvinen and Barranco arrive in new, mysterious territory this time out. Lush arpeggiation, breakbeats, and atmosphere imbue tracks like "Nostalgic Oblivion" with a widescreen grandeur. "Rene Figures" recalls Specific Momentific-era Cristian Vogel (1996), symphonic, melodic techno with a kick heavy enough for dark, cavernous rooms. Meanwhile, beatless cuts like "Whining Acid" are as intricately crafted as Tin Man's well-loved classical work ("Vienna Blues"). But as a duo, they craft a virtuosic harmonic narrative almost solely with 303s. Tin Man and Donato Dozzy's Nonneo was the first release on Acid Test (2013), setting the tone for the label and unlocking new potential for the genre. DOVS' closer on Silent Cities, "Diazepam Blues", is the label's new melancholic acid anthem and a statement of purpose for Tin Man and AAAA, two hardware masters who have created an album of remarkable emotional depth.
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4LP
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AT 008LP
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Acid Test reissues the highly sought-after Acid Acid LP from Tin Man, originally released in 2005. Now titled Acid Acid Acid, it includes a fourth disc of unreleased material recorded from the period. Remastered by Stefan Betke.
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12"
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ASD 030EP
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Acid Test continues their journey with the return of Achterbahn D'Amour. On their first proper release in three years, Jool and Iron Curtis patiently craft an intricate sound world -- with the opening track, major-key pads hearken towards a bright future, hi-hats rustle like leaves and on "Dehaveland", percussive elements fall into beautiful, random unison. Samuel Van Dijk's vaunted VC-118A project steps up for a remix, turning in a taut techno version that unfurls smoke pillars of ghostly ambience. The duo wraps up with an unexpected dreamy electro turn, "Don't Talk To Me".
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CD
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AT 007CD
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The Trickfinger project was recorded ten years ago with no intention of being released at the time, made purely for discovery and learning experience. John Frusciante on the project: "In my opinion, making music with no intention of releasing it is the best thing a musician can do for his own development in this day and age. The Trickfinger LP (AT 005CD/LP, 2015) was made in that mindset, and it was the beginning of a new musical life for me. When I hear it, it sounds like I am opening up doorways to new worlds, and I never have had that feeling listening to music I made for the purpose of releasing it and selling it." All the music was recorded live onto a CD burner, through a cheap mixer. John would sit on a chair, in his living room, surrounded by five to fifteen machines, and just keep programming and jamming until the track was ready to be recorded. There were no overdubs; it was recorded live. Acid Test unearthed these recordings and John agreed to have them released. Trickfinger II is the second part of recordings made during the winter of 2007.
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LP
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AT 007LP
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LP version. The Trickfinger project was recorded ten years ago with no intention of being released at the time, made purely for discovery and learning experience. John Frusciante on the project: "In my opinion, making music with no intention of releasing it is the best thing a musician can do for his own development in this day and age. The Trickfinger LP (AT 005CD/LP, 2015) was made in that mindset, and it was the beginning of a new musical life for me. When I hear it, it sounds like I am opening up doorways to new worlds, and I never have had that feeling listening to music I made for the purpose of releasing it and selling it." All the music was recorded live onto a CD burner, through a cheap mixer. John would sit on a chair, in his living room, surrounded by five to fifteen machines, and just keep programming and jamming until the track was ready to be recorded. There were no overdubs; it was recorded live. Acid Test unearthed these recordings and John agreed to have them released. Trickfinger II is the second part of recordings made during the winter of 2007.
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12"
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ASD 029EP
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LA legend John Tejada and acid innovator Tin Man (Johannes Auvinen) follow their 2016 collaboration, the LA-inspired Acid Test 10, with a 12" inspired by Auvinen's hometown (and Tejada's birthplace), Vienna. Acid Test 12's four songs were mixed down live to two tracks without a DAW or multitracking. The tense drum workout of "Railjet" opens the record before Auvinen sculpts his 303 into near-pizzicato form on "Bim," one of the duo's most memorable tracks. "Danube Nights" blends widescreen acid lines, a pensive lead, and melancholy chords as the drums roll along, tough enough for a heaving floor with a hint of fragility for the headphones.
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12"
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ASD 027COL-EP
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Limited repress. John Frusciante's Foregrow doesn't sound like any Acid Test record, or any other record. After the unlikely alliance between the Los Angeles label and the iconoclastic Venice, CA musician, all bets are off. This one's truly a passage through night. Foregrow is a lurching, lysergic beauty which offers glimpses of his platinum pop instincts, but only behind the veil of true experimentalism.
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12"
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ASD 028EP
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On Acid Test 11, Tin Man, AKA Johannes Auvinen, arrives on a seamless pairing with Manchester production duo Jozef K and Winter's Son. On the title track, Tin Man's acrobatic 303 no longer has to do the melodic heavy lifting - the Mancunians provide a sturdy yet plaintive piano base that allows a duet of acid lines to cut through the heady atmosphere. Erika toughens things up considerably with her "Fates Unknown" remix, stripping things back to a creepy, jacking core. "Pendle By Night" underlines the trio's propensity for widescreen heft with an epic, emotional tone.
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CD
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ASD 027CD
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John Frusciante's Foregrow EP doesn't sound like any Acid Test record -- or any record at all -- that's come before it. After the unlikely alliance between the Los Angeles label and the iconoclastic Venice, CA, musician on 2015's Trickfinger (AT 005CD/LP), all bets are off. This one's truly a passage through night. Frusciante uses elements of John Carpenter's eternal scores, the drum programming DNA of jungle and footwork, and, yes, a Roland TB-303, all slowed down to a crawl. The Foregrow EP is a lurching, lysergic beauty that offers glimpses of Frusciante's platinum pop instincts, but only behind the veil of true experimentalism.
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12"
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ASD 026EP
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LA-born Vienna resident Tin Man (Johannes Auvinen) and Vienna-born Angeleno John Tejada present a four-track journey through the highways of Los Angeles. Opener "Swiftbox" is a perfect amalgam of Auvinen and Tejada's respective styles, with its tremulous 303, complex minor key melodicism, and deconstructed stabs. "Diamond Lanes" is another muscular acid cut with subtle, swinging percussion, layering widescreen pads and jacking snares, reimagined as a skeletal electro roller in Achterbahn D'Amour's remix. Closer "Deep Traffic" is a bugged-out acid cut that captures the feeling of sitting alone in a crowd of cars crawling toward eternal sunset.
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2CD
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AT 006CD
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When Recondite aka Lorenz Brunner emerged in 2012 with his debut album, On Acid (AT 001LP), everyone was still learning about the German producer's inward-looking dancefloor sound. A few years later, his sinewy jams have proved near-universal -- like an underground Zelig, he's fit perfectly everywhere from Rødhåd's Dystopian label to Ghostly International and Innervisions. With Placid, Recondite's full-length return to Acid Test, he indulges his more outré tendencies -- and a welcome return it is. Digipak double CD includes the first-ever CD edition of On Acid. Placid features an appearance from Tale of Us; On Acid features remixes by Tin Man and Scuba.
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