Friday, 04 September
Back for 2nds on DABJ, Glasgow's own Denis Sulta delivers a class in kinky, head-spinning house. A-side lays it thick with the escalating modulations and crisply clipped swing-jack of 'L.A. Ruffgarden (Terrace Mix)' towering to a massive breakdown next to the percolated shunt and belting vocal build of 'Duh Yuh Luv Meh?'. Turn it over and and 'She Makes Me Feel Like I Never Sinned' inverts those peaks to a stylishly tribalised darkroom pressure loaded with percussions and wigged-out jazz vibrations. Ace!
Bangin' house trax from incognito Glasgow producer Denis Sulta on the highly reputed Dixon Avenue Basement Jams. The A-side, 'A.A.S (Nite & Day Mix)' has anthem potential written all over its massive kicks and blazing vocal, and quite understandably has become one of the most sought-after tracks from Jackmaster's summer season. Expect to hear this everywhere very soon. Flipside loads up two more edits, drawing for another amazing acapella over the ghetto house shunt of 'A.A.L.A.S.' whereas 'Saturday Nite' is a proper handbag powerplay. You know what to do.
Jared Wilson starts off new Glasgow-based label, Dixon Avenue Basement Jams, with a proper box banger. A-side 'Why Trust' makes very canny use of that Ah Ha holler from a certain Chicago record over 'floor rumbling, ruffed-up kicks and raw acid scrawls, organised and optimised for deadly effect. B-side's 'Unknown Desires' is deeper, riding a simmering bassline and tweaking, subermeged acid into the fog, while 'Challenging Shadows' tips out with some Mr Fingers style finesse. It's all surely Jared Wilson's best work to date and well recommended.
Dixon Avenue Basement Jams doin' it again! Four cuts of "real rockin' raw sh*t for the clubs" ranging from the skippy, organ-streaked garage of 'Big Papa' to the freakin' infectious percolator 'Get Yo Ass Off My Grass' thru to the mind-weaving 303s of 'Acid Snowfall' and yet another anthem-in-waiting with the cowbell-kinked patter and sing-a-long garage vocals of 'Hold On'.
**"Real rockin' raw shit from the street for the clubs"** Dixon Avenue Basement Jams follow up that crackin', blink-and-miss Jared Wilson 12" with four tracks from mysterious midnight operator Marquis Hawkes. 'Housing Project' rocks up the A-side with rough-playing kicks and kinked percussion alloyed to sprung, metallic jabs and stabs, next to the electro-discoid swerve of 'Marvin'. B-side 'Teetotal' swings low, from the hip, with body-lacing acid lines and dirty slow jack beats, but the undoubted BOMB track is 'Sealion Woman', a Dance Mania-styled banger suffused with one of the deadliest vocal hooks you might hear this year. BIG TIP!
Edinburgh rogues Alan Parley and Neil Landstrumm reprise their Modini duo with a set of synth-pop and EBM-stung darkroom house joints. From the top, 'Budgie' rolls a shades-on hulking EBM house shape, and 'Romance' brings Gary Numan-sounding synth strokes on a wobbly, chromed-out electro groove. B-side, 'Cisco' wurks a tuffer rut of sub-strengthened house, and 'Europa' leans heavy to close with a mid-tempo electro-jakker à la I-F.
"Real raw rocking sh*t" from the mean streets of Glasgow, courtesy of Modini and the Dixon Avenue Basement Jams posse. Freaky, diverse house funk in four parts, striking a Dutch/Detroit-style electro gangsta pose in 'Estate' and the rugged swang of 'Fear' up front; twysting out techy acid torque punctuated with wicked rimshots on 'Fumble', and absolutely killing us with the wobbly ghetto house charge of 'Sorry'. Tip!
Classier club grease from the cats at Dixon Avenue Basement Jams. With one ass cheek in early '90s Chicago and the other in 2013 Glasgow, this analogy could get pretty horrible but the mysterious O.D.D keeps it sweet with four tracks working up a sweat from horny basslines a la Abe Duque or classic Cajual oiled up and rubbed against grooving, martial drum machines and infectious siren synth pulses. One fo' the late night swingers.
Deadly house energy from two new playas on Dixon Avenue Basement Jams books. TX Connect rules the A-side with a nicely dusted display of tracky jack beats and lip-sucking square acid bass laced with the kind of top line that makes us go bozz-eyed and mental on a wednesday afternoon (wish it was friday!), whilst CT Trax shunts the intensified techno house chords and lamping kicks of 'Redline' to a peaktime trajectory. Turn her over and CT Trax gets freaking wild wi' the edits on a Shake-meets-Thomas Bangaltar-style 'Jack Attack', and TX Connect impresses again with the psychedelic b-l… Read more
Vernon debuts on Dixon Avenue Basement Jams, following up that storming Jared Wilson 12" with three lean and tucked-in acid house moves backed by a dope Fudge Fingas remix. making a swaggering entrance with the hip-slung nite cruiser 'Low Control' he boosts the energy levels with a dash of spicy synths and punchy, jackin' drum patterns on 'She Can Dance', and commands a mean acid groove with the scissoring 303s and dubbed-out skank of 'The Smoking Hat'. Fudge Fingas' 808 mix of 'Low Control' is one of the best bits we've heard from him, coming off like a decelerated E.R.P. mixed with a dash of Scott Grooves.
"VernoN returns for his third 12" for Dixon Avenue Basement Jams with "New Beats", four thumping body tracks strictly for dem wot know. Starting off with some slow-paced Jailhouse House, "Dark River" has been doing the rounds at Barlinnie Prison's weekly Friday night Shankfest, and is now finally available for the rest of us law-abiding citizens. "Awakening In Antwerp" lets loose rushing Legowelt-esque arps, perfect for what yer Dad calls "Peak Time", in every sense of the phrase. If you could imagine what Chip E would sound like if he owned/utilised more than one keyboard, then "Belgium Stance… Read more
Marquis Hawkes back on Dixon Basement Jams with a special house session for y'all. This cat's releases just get better and better: his 4th 12" roves the 'floor between carnival-inspired acid strut on 'Honey Kisses' to the groove-riding piano house of 'Let's Do It' thru the wiggly jak trak 'House IS My Castle' and onto the pièce de résistance of Linn snare crack, slicing boogie licks and magical pads in 'Roger Funk'.
Bangin', mystic ghetto house, direct from Gavin Guthrie aka TX Connect. In fine DABJ style, TX's 'Trixxter' gets us going with a bare-boned jack attack splicing Chicago and EBM styles, while 'Intramountains' works a slippery wrhythm from slyding rimshots and some horny electro disco moves. B-side, 'Xanadu' takes it to the epicentre of the jackin' zone with mind-weaving 303s and tempestuous, tracky machine rhythms.
"Real Rockin' Raw Sh*t From The Streets For The Clubs"** Four dope acid/house fancies from the consistently ace Dixon Avenue Basement Jams. Again, they strike a neat balance of melodic intuition and rough driving house groove, taking in the hypnotic, metallic swing of 'Higher Forces' and the svelte, in-the-pocket pivot of 'Automatic' on the front, while the flipside offers Todd Edwards-style vocal processing and Jersey swing on 'I Want You', and a pinging acid chew called 'Divine Intevention' for the chuggers.
"The Man from Marseille Vernon dropping his second E.P for DABJ here, building on the groove of his debut "Chicken Dance" but adding an extended palette of sound and taking things in a slightly tougher direction. "How To Travel The Universe (Without a Flying Saucer)" kicks of with "Ignition", an eerie Ghost Train cut ripe for an LSD-fuelled danse macabre through the town after the witching hour. "One Night In Tanzania" rolls out into a rugged, clave-led jacker: a perfect mix between the deep and the tough that VernoN can deftly muster, seemingly with eas… Read more
"Interpretations of Superstition” is a revisitation of James Place’s debut album, Living on Superstition, released in Umor Rex in February of this year. Five songs from Living on Superstition are reworked and performed direct to tape, a taste of James Place’s live set. One can perceive an increased intensity here— James Place took the opportunity to focus on the original record’s rhythmic elements and embolden with new ones, evidence of Phil Tortoroli (James Place)’s experience within the NYC dance music circuit. Besides the pieces belonging to his album debut, Interp… Read more
"Gultskra Artikler is a project of Moscow-based Alexey Devyanin, who has to this date several releases including four albums in the marvelous German label Miasmah. Destroy Music is an exercise in —literally— destroying the music Alexey has been listening in recent years. Taking samples from countless sources, creating new patterns and then trashing them, these pieces are something we might call sound recycling, and there are plenty of moments of endless collage and layers. However, with the destruction of parts that are made virtually unrecognizable, Alexey is able to create enti… Read more
Effectively Stephen O'Malley-on-ice, 'Eternelle Idole' is the Sunn 0))) agent of doom's debut composition for ice-skating choreography. His score for Gisèle Vienne's eponymous piece sparingly spreads 47 minutes of modular synth, guitar, clavichord, piano keys and vocal over 3 sides of 2 discs - the 3rd side is mysteriously left blank - accompanied by familiar collaborators, Steve Moore, Daniel O'Sullivan, Peter Rehberg, Jesse Sykes, Bill Herzog and Randall Dunn. Arriving quick on the heels of his high register explorations in the 'Gruidés' slab for DDS, here he shifts focus towa… Read more
"Roberto Carlos Lange is a Brooklyn based composer of Ecuadorian descent and a conceptual visual artist, also known for his work as Helado Negro. Plural People is a collection of music and sound pieces from 1999 to 2011. It all starts back in 1999 when Roberto was 19 and exploring computer synthesis parallel to making music with samplers like the MPC 2000 XL. At the time he was taking sound classes that explored max/msp, supercollider, reaktor and other software based sound programs and synthesizers. There is a piece here that was made from a Hammond organ Roberto found, putti… Read more
"Rémy Charrier is a French audiovisual artist based in México City. With a classic formation made sporadic due to frequent changes of residence, his approach to music was for a while basically made of improvisation exercises with a piano. After a couple of previous releases in the shape of a duo-project in France, Cowries is his first solo work. Once settled in Mexico, Rémy continues his practice with a Moog Little Phatty and a collection of objects used for rhythms and percussion, plus samplers and virtual / analog tools. Although he builds his music based on a random principle close to t… Read more
A real surprise from Sean McCann, pursuing his wistful neo-classical themes into more abstracted, obscure spaces. Technically it's his first new solo release since 'Music For Private Ensemble' (2013), and breaks down in two broad sections; the first set features abstract vocal-based work recorded in hotel rooms during business trips in Las Vegas and Spain, which are dissected on a broken reel-to-reel machine to form strange, scrambled collages revealing a whole other side to his discipline. Meanwhile, the other half tends towards his recognisably serene neo-classical structures, inc… Read more
Planet Mu celebrates two decades in the game with a 50-track run-down of highlights, both classic and new. The scope of the tracklist - ranging from Kuedo's cinematic synth vision to Shitmat's junglist rush via DJ Nate's early footwork prototype and Silk Road Assassins' emosh grime - is testament to the consistently coherent vision of the label's helmsman, Mike Paradinas, and his ability to draw lines between the early '90s techno revolution where he started, and the proliferating, mercurial world of modern electronica. Even if you're a long time fan and think you know it all, … Read more
Nor'Easterly industrial pressure systems from Michael Hann a.k.a Marreck (and Rejections) on the label wing of NTS radio show, Alien Jams. 'Yuda' yields five tracks/constructions of uncompromising techno/drone form steadily increasing along the Beaufort scale from the chromatic warp and sullen throb of 'Uco' thru rubbled bass disturbance and panic signals of 'Prakoso', to culminate in the torrential tech-noise of 'Rama'.