Monday, 06 July
Subtly infectious, rolling techno-electronica from Belgium's GoldFFinch duo. The proggy build and electroid minimalism of 'Unworthy' could almost be a Modeselektor cut if we weren't told otherwise; 'Brother' plays down a slinkier darkroom techno wiggle; 'Layers' jacks up a nervy acid jag with super precise production. On the remix, Bangkok's Sunju Hargun reduces 'Unworthy' to a sleazy, sub-powered prowler.
"Italian Records return with another retro-futuristic step through its kult 80’s catalog. In the late 70’s Gaznevada had been one of the most relevant Italian Punk-Wave Bands coming to light from the Italian underground scene. In 1982 with I.C. Love Affair Gaznevada moved from post-punk to new-wave pop; and this tune is, without any doubt, considered as a proto-house anthem. For this 2015 release Italian Records include reconstructions by I-Robots and Giangi Cappai, the already well know Munk Edit and finally the David DePino edit."
Fort Romeau tasks associates of Frankfurt's Running Back and Live at Robert Johnson labels to remix his 'Insides' album. Check for the hazy shimmy of Massimiliano Pagliara's rework of 'All I Want' and Orson Wells' raw, swinging and elegantly poised overhaul of 'Lately'.
(Steffi) Doms & (Martyn) Deykers indulage old skool breakbeat/house fantasies with 'Fonts For The People' on the latter's 3024 label. The title tracks' the one for us, twisting running man breaks and wobble-eyed synthlines on a big gnarly 'ardcore bass. Flipside, 'Penny's Groove' tweaks out some '92 Detroit style techno, and 'Tepper' tips out on a darkside electro flex.
BNJMN stokes the 'floor with four slices of pummelling, bluntly hypnotic techno making up the 2nd EP on his BRACK label. The barrelling ballistics of 'Chromed' starts the session at a heart-racing throb fizzing with radiophonic quarks and bleeps, and 'Rattled' squeezes that vibe off centre with a sweltering, amorphous bass roil harnessed to metronomic pips. With 'Sallow' he introduces harmonised layers of chiming Detroit-like pads to his scuffed techno patterns, and 'Broil' clocks off with a murkier swamp of stuttering tribal rhythms, and nowt but.
Björk's dalliance with the Tri Angle crew blooms strange new fruit in Lotic's amorphous, ambiguous Keptsafe Version of 'Notget'. The vocal remains mostly intact but is buffeted with noisy, granulated, and polymetric rhythm structures folding and unfolding in upon themselves, sustaining a perilous and unstable trip pocked with swampy subsidence, beautifully discordant synths and insectoid dynamics.
Björk's current live partner, The Haxan Cloak takes his turn to remix a 'Vulnicura' album track, flipping Ms. Guðmundsdóttir and the Icelandic choir of 'Mouth Mantra' into a tempestuous, gothic piece of EBM/hardstyle chaos whipped with 3D cinematic FX.
Mica Levi's sweeping, instrumental "Kareokiejid" remix of Björk's 'Lionsong' really stands out from the remix suite of her Arca-produced 'Vulnicura' LP. Deleting Björk's vox, what remains is a tortuous symphonic arrangement of blossoming and willowing strings conducted with the uncanny ability to really reach in and massage, squeeze and yank our heart muscle. Sing-a-long if you must.
Untold applies his patented technogrime drum funk cadence to Björk's 'Lionsong'. The ecstatic, wrenching, vaulted vocal is diffused thru a coiled lattice of pitching, tribalist drums primed to be detonated in the mix with some hard-ass ruckus.
Another new Tri Angle recruit, Rabit provides one of the standout remixes from the dismantling of Björk's 'Arca-produced 'Vulnicura' LP. The US grime producer's Naked Mix for 'History Of Touches' melts away the flesh of the original,leaving snatches of the original vocal suspended in viscose synth fumes and prickling plastique tendrils, with poignant, disorienting use of lacunæ making it feel like some recurrent waking dream/trauma you can't escape from.
Krampfhaft presents one of the lushest remixes for Björk's 'Vulnicura' album. At the Dutch producers digits, 'History of Touches' is rent as a widescreen play of sweeping searchlight synths illuminating gasping chorales and picking out micro-rhythmic details amidst its loping, swooning structure.
Björk's famously wide-reaching tastes come into play here as she hands 'Family' to West Coast American avant-garde sound designer, Katie Gately. Last spotted on FatCat's split series, Katie executes a thorough abstraction and revision on 'Family', boldly tweaking Björk's already unique timbre into queered, curdled reflections of itself around a crushed bottom end and a swarm of diaphanous, ghoulish synth spectres.
Automatic Tasty milks purest acid funk cream from his machines in a wobbly 2nd EP for CPU. 'The Life Parochial' pursues a slew of releases for Dublin's Lunar Disko Records and Acid Waxa, among others, with a quartet of colourful, almost cartoonishly charming 'floor jaunts, from the EDMX funk electro-modes of 'Aromatic Tasty Hits the Town' and the Vibertian acid-breakz of the EP's title track, thru to Italo disco sauce of 'The Parish Hotline', and the one-too-many-Tizers buzz of 'The Twofold Exaltation of an Acid Called Tinfoil Hat'.
Modulating dub techno reductions from Markus Suckut for Horizontal Ground. Three studies in the art of optimised efficiency ranging from rugged, virulent synthlines weirdly reminding of a tuffened 'Typerope' on the front to dry, DIN-style halfstep techno and Dettmann-esque DJ tools on the flip.
Masayoshi Fujita, better known as Moteer's Vibraphone-playing 'El Fog' re-appears on Erased Tapes. Recommended by Mary Anne Hobbs.
Monday, 29 June
'The Blue Quicksand Is Going Now' is the staggering debut album by Oliver Perryman a.k.a. FIS. In pursuit of a sound ecology reflecting the complex dynamics of nature thru electronic music, FIS' un-quantised, texturally abstract compositions have practically ripped the rug from beneath the feet of D&B, techno and ambient music to leave them spinning in gyroscopic hyperspace. Now, after a series of cultishly acclaimed singles for Samurai Horo, Exit and Tri Angle, a.o., he atomises that aesthetic to exhilarating and utterly arresting new levels, leaving the dancefloor and bedro… Read more
Hyperdub pull out a posthumous collection of unreleased DJ Rashad bangers. All tried and tested in the circle, they get wild in a variety of styles, from the discofied DJ Spinn hook-up, 'CCP2', and the soul-belting burn of 'Vause I Know U Feel' with Gant-Man, to the strobing Footwork hyper-funk of 'Ya Hot', feat. Taso, and the virulent blend of trapped siren stabs, palpitating subs and darkside D&B-style synth lashes in 'Do Not Fuck With', which could well be one of the most FWD, unique footwork cuts we've heard, no messing. R.I.P. Rashad.
RP Boo, the OG source of all things Chicago footwork, comes correct with a killer 2nd solo album for Planet Mu. 'Fingers, Bank Pads & Shoe Prints' is an armoury of battle trax for the 'floor, delivered with a conviction and density of energy that's impossible to ignore if you're into electronic dance music or the lineage of Afro-American sonics. As with its predecessor, 'Legacy', this album is a showcase of RP Boo's finely-honed dancer's instinct and incisive sampling technique, using uniquely fractured motifs and complex repetitions to reconfigure our physiology, so firmly … Read more
*2015 reissue on Magic Wire* Deriving its name from a lost, mythical continent, Lemurian has little to do with lost undersea cities and the like, although there is something ever so slightly fantastical about these heavily compressed instrumental hip hop productions and their evocative song titles: 'Lens Flare Lagoon' conjures up the glistening, watery effect suggested by its name, and 'Buried Coral Banks' has a Boards Of Canada-meets-Jacques Cousteau feel that's hard not to love. Incongruous with all this, interlude tracks like the gratuitous '80s soul sampling of 'Green Sea Pageant'… Read more
Like bloody buses, you don't get a new Nico Jaar for four years and then two come in the space of months! 'Nymphs Vol.III' yields a pair of subtly emotive cuts for the 'floor and home, with 'Swim' sharing 13 minutes of tousled tech-house melancholy and 'Mistress' 'fessing an richly evocative and warped solo piano vignette pulling on the auld 'art-strings.
Badboy Beneath rolls out his most substantial collection for a while with 'Shlocky' for Berceuse Heroique. His follow-up to the 'Vobes EP' [PAN, 2014] delivers 4 pressurised, shoulder-barging rollers cherry-picking from the last 25 years of rave music and updating its essence with an austere sense of modernism. In '50/50' he comes off like early '90s Shiver clashing late '90s Optical, whilst the crushed swagger of 'Freeze' feels like Digital doing UKF. In the crushed swagger of 'Soho' he spend nearly eight minutes exploring the crankiest syncopation of ruddy dancehall and dread techno tones, bef… Read more
Manchester's Walton consolidates grime, techno and dubstep frames in a taut collection for Tectonic. Last spotted on a trio of 12"s for Hyperdub, he remains true to a mutant 130bpm stylein the 'Bulldoze' EP, throwing down the icy strings and whirring worksite percussion of 'Wrench' beside the ruffneck bongos and wheezing grime melodies of 'Flute Riddim' up top, whilst B-side brings a killer sound synching pirate radio barks with EBM-strength drums and massive subs, and 'L.E.A.N.' comes off like some Chiraq drill infused with roadwise UK flex. Cold and deadly.
Nonplus trigger a keenly awaited series of Source Direct remasters + remixes with their Hokusai killer, 'Black Rose' (1996), reworked by Blawan. This is truly momentous stuff, illuminating a pivotal pinnacle of '90s dance music for a new generation whilst also providing fresh, state-of-the-art context thru modern scenes. Beloved of everyone from Kode 9 to Nonplus+'s infamous boss, Boddika, the original 'Black Rose' is an unparalleled blueprint for mid '90s jungle, a 'marish phantasia of slashing strings, bowel-spilling Reese bass and ouroboros-like breakbeats chasing their… Read more