Friday, 31 July
Mutual Friend show off the club-toned chassis of 'Perfection' on their first solo outing. The title track comes off like an updated soundtrack for that club scene in Terminator whilst 'Triangulating' is pure Goldeneye Facility level techno business and 'Evolve' works out hard next to the likes of Egyptrixx. Label boss bot, Liar chimes in with a killer Optimix of 'Perfection' pumped with dynamic detail for the club.
"The Chap are back and they’re not pleased to see you. Jammer is a cute but nasty piece of work that defies you to like it. It has no words! But lots of singing! It’s great! It’s all wrong! That’s because it’s by The Chap. It’s fast! It’s catchy! It rocks! That’s because it’s from The Chap’s forthcoming political rock album – which, naturally, has quite a lot of words on it."
Super infectious tech-house pressure from the steadfast UK producer, Mr. G. 'M's Retrograde' is a masterclass in tantric groove - snare-less and largely kick-less but with lip-bitingly tight hi-hat, clap and bassline interplay. 'Flexable' is a staright-up deep house play; 'Binky's Groove' adds some lithe bassline funk and James Brown stabs; 'Dis-tracted!' does it lean and direct for the best house 'floors.
Choice Chez N Trent remixes, cherry-picked for compilation on KMS. A-side gives up their nice-but-nasty '94 versions of Sonya Blade's 'House of Love'; a sublime, swinging groove laced with a crucial lick of technoid acid around the midriff, in vocal and dub mixes. B-side, you'll find two plush and soulful takes on Alton Miller and Scott Grooves' 'It's Going To Be Alright'.
The German producer jacks up a sleazy, gritty session for Technicolour after acclaimed work for L.I.E.S. and W.T. Records. Both sides follow a similar pattern - giving you something to dance to, and then put you on your arse. A-side opens with the bestial vocal processing of 'Explora (Slave)' before putting its weight behind a proper jack attack, and lowering us into the viscous tarpits of 'Headpiece'. Flipside, he knuckles out the monotone EBM techno pulse of 'Brute Force' and melts to close with the darkroom essence of 'Shpel'.
Juicy grime ace from the boss like Slew Dem's Spooky. Icy sheets of synth glyde over evil, squirting bass pressure, nailed into place with tuffened trap drums.
The Durian Brothers and erstwhile !!! member Justin Van Der Volgen rework The Unknown Cases' ersatz '83 Afro groover, 'Masimbabele' for 2015. JVDV's version hews very close to the classic original, whereas The Durian Brothers give it a whole new percussive palette and relegate the lead guitar and vocal to teasing drones.
Bureau B's excellent Kollektion series elects Thomas Fehlmann to select his favourite Conrad Schnitzlers. This 5th instalment, like the others, affords some contextual grasp on one of the largest, slipperiest catalogues of electronic music in the late 20th century. And poignantly so as Fehlmann, a legend of Teutonic electronics in his own right, was first prompted to make electronic music as a student after witnessing Schnitzler demonstrate "how the "extended definition of art" established by Joseph Beuys could be applied to music." Across 16 songs he touches on the breadth and d… Read more
Industrialised post-dubstep mutations from a cranky Killawatt on Osiris Music UK. Ten years on from its inception, dubstep has eaten itself and broken down to component elements that have morphed, fused and mutated into new formations strung between electro, techno and concrète sound design. The crooked, slompy 'Contort' is a case in point, twisting abstract electronics into a clanking industrial soundsystem golem, whilst 'Flustercuck' adopts a bashy sort of industro-dancehall tactic, and 'Gutter' nods to the kick/snare placement of classic electro from a more detached, noisy angle.
Clap! Clap! on the bounce again for Black Acre with two booming, nifty dance attacks. In 'Camo' he weaves a party of African tribal percussion and chants around booming B-More kicks and sprung chord stabs at 138bpm for the hotsteppers; with 'Fever' he yokes a battery of cowbells to bustling, woody drums and swooping breakbeat techno for febrile behaviour.
dBridge and Machinedrum chop and whisk Stray's 'Paradise EP' trax with sharply contrasting results. dBridge turns the title cut into a spacious halfstep lurcher with brilliantly deliberate use of lacuna maintaining a crisp tension between negative space and shearing beats. Machinedrum's take on 'Movements' is a midsummer's dream of strafing soul vocals and light-footed jungle dexterity.
Emotional Rescue do us another big favour with this compilation/reissue of rare and sought-after New Wave aces. Plus Instruments (a.k.a. + Instruments) was an early vehicle for Sonic Youth's Lee Ranaldo, who was joined by a gang of '80s downtown New Yorkers including their vocal locus, Truus De Groot to forge a virulent sort of wave disco sound over a handful of singles and compilation appearances between 1981-1984. These are their best songs, including the hypnotic walking bass and alluring lyrics of 'Bodies', also included in a really trippy unreleased mix, beside the disco-not-disco punk-funk brilliance of 'Special' and the killller bass lick of 'Deutsche Frau'. TIP!
Pure techno thunder and drone from the Italian producer, backed with a solid Blue Hour remix. The SNTS originals are all about throbbing bass drum patterns and tunnelling sound design for the evil-minded dancer and DJ, at best in the sub-aquatic rolige of 'ES19.2', which Blue Hour laces with zinging hi-hats and locks to a sterner groove for the big room gurners.