Monday, 27 April
Machinedrum on the buttons for Roots Manuva's return to the fray. 'Like A Drum' furnishes the august UK MC with a dark and duppy slow/fast move, a hip hop head nod on the cusp of double time bruk that never comes but teased with double-tapped 808s.
Mike Oliver's Remote project has kept us enthralled since his fabulous releases for the Meanwhile imprint, two twelves that deployed flawless dubby techno with an airiness and attention to detail that have gained him a sizeable following. Here we have nine tracks (only two of which have been previously released) and every one is so delicately woven you begin to forget that it's 4/4 at all as it shares just as much in common with the glacial world of 12k as it does with the Detroit pioneers of yore. Maybe it's also Oliver's keen ear for dancefloor subtleties; these tracks have soul but ar… Read more
To-the-bone house gear from the DABJ hero, working to heavy inspiration from Ron Hardy, Gene Hunt, Roy Davis Jr. Back on Houndstooth following the buckshot of late 2014's 'Fifty Fathoms Deep', the Berlin-based producer does druggy ghetto vibes in the warm 'n gritty percolations of 'Raw Materials' on the A-side, before the sozzled swang of ''Ave That' cuts loose on the flipside along with the freeky early Dance Mania jabs of 'Jerk U Later'.
Future Loop Foundation's Mark Barrott proceeds his 'Sketches From An Island' volumes with two chiming drug chug trips for the breeziest balearic minds. 'Bush Society' takes ten minutes to set a humid scene of cicadas, tropical storms and percolating marimbas tones precipitating a lush and oily disco dream sequence. 'Saviours or Savages' is the waking afterthought of rippling gamelan-like patter and lilting acidic synths dusted with MDMA pad magic.
**In which the legendary Can drummer and multi-percussionist Holger Mertin converge a lushly kinetic, outernational meld of complex rhythms and percussive melody** "Like a zen master of the minimal, repetitive beat, Liebezeit -- famous for his hypnotic precision -- creates with only few sound colors the perfect matrix for Mertin's unleashed playing on any imaginable percussion instrument. The result is a mighty, complex pulse -- the groove of a better world. On the basis of that musical matrix, sound magician Joseph Suchy has produced a jaw-dropping album that defies any categorization. E… Read more
Pinging hardware rhythm trax from the ever effective I:Cube. '123bpm' bites down with stereo-dancing blips yoked to grubbing kicks and Linn snare crack like some early Ø transposed back to mid '80s Chicago; '118bpm' loosens up more with frisky layers of latinate percussion and nowt but; Pilooski chips in a bendy edit reduction of 'Makossa' to ramp the tribal vibes. Aces.
Blinking megatropolis panoramas from F.E. Denning for Posh Isolation. In keeping with the label's hard-on for Hospital Productions, 'Cities Of Light' finds that tenderised balance of night-vision synth tones and salty noise distortion in five parts synching neatly with the bleaker scapes of Alberich, Lussuria or Virile Games.
Berlin tech-house wrought with swelling, proggy emotions by former Tresor resident Dave DK. 'Val Maira' builds on the example of his split 12" with Ricoshëi in fine style, exapdning on a flush of warm, 'floor-friendly strokes at best in the night-light charms of 'Immer Gut', the spaced-out sound designs of 'We Mix At Six', and Burial-esque ambience of 'Naschi'.
Lissom tech-house sophistication from the Canadian trio helmed by Mathew Jonson. Their first offering in over 3 years was worth the wait, dealing in exquisite posh trance tones and feathered groove in 'Northern Lights' and its deeply seductive inversion, 'Drawn From the Side of Crime'.
Glasgow's ever-brilliant Night School return with a new album from label head honcho Michael Kasparis under the Apostille alias. To date he's nurtured this sound with split releases alongside Meddicine and Dnbl for C.O.A.T. and Clan Destine in parallel to actions with The Lowest Form and Please, but all energies are now focused on 'Powerless' with the intention to "bridge the gap between audience and performer, to connect through the fog of power structures and post-modernism; to ferment a direct pop music unconcerned with control." What that means in reality is a cranky clutch of lo-fi, syn… Read more
Trio of techy mutations from the recently acclaimed producer. 'Shadow Play' ranges from Detroit-via-UK deep techno in 'Some Scrambled Message' and the cosmic rave zing of 'Empathogen' to slower, shuffling acid house laced with extra subs and lushest vibes.
Monday, 20 April
Deadboy makes super nice on Local Action with the 'White Magick' EP. There's a mini-epic's worth of ideas and vibes inside, playing out like the soundtrack to a sci-fi short about occult computer hackers in the ends or, equally, some new age grime romance (we'll leave the casting to your imagination). From the crystalline synth blooms, angelic chorales and roto-drums of 'White Moon Garden', he 2-steps into lush 4th world dimensions with 'Inner Palace' and the beatless R&B sim-stim serenity of 'Rye Angel', all rendered with meticulous attention to hyperreal details. At the mid-point, the amb… Read more
Type reach inside the box to present Nochexxx's newest devilment of Drexciyan electro and grubby bleeps, 'Plot 'Defender'. Steadfast at the fringes and fronds of UK electronica since the late '90s, Dave Henson a.k.a. Nochexxx has previously done the do for Ramp Recordings and Actress' Werk Discs over the last few years, forging a sort of eldritch, radiophonic cyberpunk that frankly sound like f**k-all out there. OK there are plenty of artists working with cranky, heatsick synth and drum machines right now, but few others do it with such an unhinged grasp of groove and feel for intricate s… Read more
'Paint En pointe' collects ten pieces for dance by Sydneyite Eugene Ward, who's probably best known as TTT and Opal Tapes' Dro Carey or Tuff Sherm. They were written with the choreography of Patric Kuo in mind, intended for a variety of ensemble performances from solo to groups of up to 16 dancers. Judging from what we've previously heard by Ward, this release stakes out his most experimental territory, exploring the intersections of his formal compositional practice and the requirements of dancers beyond the conventional 'floor/head-space. We can hear him reference everything from t… Read more