Monday, 11 May
Mikkel Meldgaard plumbs deeper, gothic techno depths with three new pieces plus an EBM-jacked Pattern repeat remix. With 'Kigs' he puts a noirish, Giallo-esque spin on dub techno, whilst the uranium-enriched tones of 'Trash' irradiate a skeletal techno groove and 'Tall Buildings' allows some light in with a teasing trance arpeggio. At the EP's darkest point, Pattern Repeat lock 'Further' to a minimised EBM pulse and jagged synths with a sleazy, oily effect.
Deep and frothy garage house swingers from Baja, California, via Faces Records. Vibes are nice from start to finish, rolling thru the plush but refined swing of 'Reciprocal' and the skippier 'Round Streets' up top, and over to a piano-heavy remix by S3A, and the sub-sunken beatdown bob of 'Real All Night'.
Atlantic-facing techno killer backed with a deeply driven Legowelt remix. Portugal's Lake Haze and IVVVO make a potent pairing on the front with a bareback jacker built from salty 909 and stormy synth arrangement spilling over a sense of dancefloor drama. B-side, Legowelt picks and runs with that vibe, filling in the space with patented kick drum welt and expanded, unfolding arrangement weaving yoghurt and sand like some Atlantean psy-trance anthem.
Smart session of tensile techno tools from Caspar Clarke a.k.a. Volte-Face. 'Charlatan' marks not only Volte-Face's solo debut but, also the christening of BleeD Music, the label spawned from Caspar's boundary-pushing series of events which hosted events by everyone from Blackest Ever Black to PAN and L.I.E.S. in London. It's possible to hear slight traces of those label aesthetics in 'Charlatan', yet the impetus is ambiguously torn between big room techno and bunkered intensity, whether nailing a muscular, driven sound with the dramatic 5am pounder, 'Until The Light Takes Us' and the ca… Read more
**Sampledelic classic based on the notorious British TV series, The Prisoner. Reissued for 2015 by the good folk at Room 40** "Recorded at Baby Monster Studios, New York City, Summer 1993. Published early 1994. David Shea was born in 1965. Pupil of Morton Feldman, he has been active in the New York downtown new music scene from a very young age. He has been involved in many projects of John Zorn and has performed with him in many places in Europe and USA. He has also worked in close collaboration with Marc Ribot, Jim Pugliese, Anthony Coleman, etc. From 1986 to 1990, he worked as a club dj p… Read more
For the DJs and dancers, a special set of concatenated grooves from house heavyweights. Manuel Tur goes darkroom with '121 BPM'; I:Cube cuts tribal rug at a leisurely '109 BPM'; the mysterious Blank Spanner (who're they?) show off with the dub-synched lather of '126.5 BPM'; Disco Nihilist swings wide with the fruity '124 BPM'; Âme gets sand in their pants with the gritty jack ov '119 BPM'; Radio Slave owns your body with a brilliant batacuda charge at '122 BPM'.
Body-clattering techno from Guy Andrews, following his 2011 single for Untold's Hemlock with two bludgeoning cuts for his Pennyroyal offshoot. A-side doses bouncing bass drums and a banking wall of noise building to a breathless climax, cooling off before rolling out sweeter, burning off the lactic acid. B-side is more roguish, spitting a barrage of claps on top of tussling kicks and vicious modular squall.
Bambooman teams up with UK hip hop MC Jehst for Sonic Router. The instantly recognisable drawl of Jehst is smeared to a woozy, skunked-out bass and smoky chords in the A-side's 'Rusted' - quite funny how the production feels up-to-date whereas the vocal sounds totally stuck int he '90s (really, MC's still sound like this?!) - whilst the B-side's 'Thickets' drops a dollop of grimy pastoral futurism.
Heady tribal house patter from Antinote's MVP. The results of his 'Pure Ground Research' sound like the barefoot travels of a free spirit circa 1990 in Goa, wandering from the sub-tropical panpipe visions and rolling trance-house of 'Tone Loc' to the lathered digital suncream of 'Minus Jam' and chiming tones of 'Box of Exotica' seducing us to a humid proto-trance sound strafed by a multitude of worldly voices, to settle at the balmy bob of 'Green Resident' and its melting harmonics. For those who long for simpler times and warmer climes…
The Italian producer kicks off his 2015 with the first of two techno tool packs. Styles range from sub-aquatic rolige in 'Oberdan Mall' to bleeping minimalism in 'Steps' and the slippery acid of 'Congas Tool', but if you're only gonna check one then the bittersweet arpeggios and skeletal swing of 'Self Research Afternoon' is a must.
One of the UK's most nattered-about techno bods crashes in on Berlin's Leisure System. Following a volley of shots on Power Vacuum, Turbo and Hype_LTD, his latest salvo deals in fierce bruk techno mechanics carving up no-man's-land between the rabid funk of 'Oleum' and Randomer-style warp and heft of 'Mormon Shuffle' thru to the more rolling techno discipline of 'Standard Issue' and a welting wickedness in the aggy breakbeat funk reductions of 'FS3+4'.
Proggy dub techno and IDM prisms from Lars Leonhard back on BineMusic. If you like your electronica super crisp, melancholic and spacey à la Monolake, this one's for you. Includes mixes by Quantec, Scanner and Thomas Touzimsky.
Stu Robinson a.k.a. ASOK is the 2nd scouser after John Heckle to share his machine soul with M>O>S. Following on from 2014's 'Poltergeist' 12", he nails a warm, rounded analogue house sound deeply informed by the holy Chi / 313 / NYC axis. Check for the sub-aquatic dive of 'Final Battle' for the lushest treats.
Leaving Records introduce the wild and lush electronic topographies of Mexico City's Smurphy with 'A Shapeless Pool of Lovely Pale Colours Suspended in the Darkness'. A product of her times and location, Smurphy's music feels helplessly, instinctively torn between dimensions and planes of psych-pop surreality, combining the giddy harmonies of her label boss Matthewdavid with the tribal rawness of Black Zone Myth Chant and the strange sensuality of Teresa Winter. It's a psilocybic sound, flush with lucid nature sounds mixed with her own, d… Read more
DMX Krew riffs on classic acid mutations with '5 Ways 2 Jack' for Jerome Hill's Super Rhythm Trax. It's a party from the crust to the run-out, checking off big-box-little-box styles with 'Vicious Bleebz' and proper Yorkshire bleep rufige with 'Bleepology'. Harder heads will be all over the cascading 303s and warehouse bang ov 'Up 'n Down', and we can't wait to catch the Lil Louis-gone-Bashment pressure of 'Ragga Clash' in a club soon.
Koza returns from hiatus to Maslo with a quartet of bolder house deviations in 'Prisn'. Where his previous trio of Ben UFO-championed 12"s trod heavily between dub house and dank techni minimalism, these trax take inspiration from Apple and Google operating systems to conjure a more abstract and foreboding vision of modern house music descending from the subterranean tone of 'GET_INTENT' to the sluggish capacity of 'DECIVEID', allowing a glimmer of optimism with the glassy notes and tempo nudge of 'OPT_iCAL_IN', and slipping back into gadget-induced torpor with the subtly crooked and serpentin… Read more
BNJMN mints his Brack label with a useful taste of his unique take on techno. Up top, he percolates nagging, nervy voices and panicky stabs before a serotonin flood of lush drone pads balances the vibe in 'Penumbra', while 'Keel' plays the gruff, direct techno card with somewhere between Terrence Dixon and Breaker 1 2. Down below, he gives the whole side to a creepin' house joint pecked with cold bleeps and fostering infectious EBM/acid synth licks on a rude groove.
'Twelve O'Clock Shadow' works as a fine taster for fLako's lush 'Natureboy' album and also a vehicle for two exclusive new pieces. In the title cut, a pivotal track from the album sequence, L.A.'s Miguel Atwood Ferguson arranges gorgeous strings moving between Mica Levi-esque discord to Alice Coltrane-like blooms around fLako's pointillist guitar and breezy shuffle, and 'The Shape Of Things To Come' nods sagely in the direction of Ornette with a harmolodic matrix of strafing syn-flutes, vocal chorales and staggered footwork/hip hop drums. Flipsiude brings the newnuss with slowfast me… Read more
Louche, tribal-tinged house from San Fran's Avalon Emerson, bolstered with a fiery Afro psych-funk remix by HNNY.
**Idiosyncratic cold wave pop and industrial fizz from early '80s Belgium. Ace** "Van Kaye + Ignit is the Dutch duo of Ed Van Kasteren (Van Kaye) and Ignatine Bekken (Ignit), who joined forces in the city of Arnhem during early 1980. While at university, Van Kaye was the singer of The MoNoMeN, a local new wave band. By the end of 1979 he had become more interested in the use of electronics and rhythmic industrial patterns. In April 1980 he released a demo cassette with 30 minutes of his own work titled “A Slight Delay”. While experimenting with synthesizers and developing extreme s… Read more
Nico Jaar serves his 1st single in four years with the moody/pastoral ambient techno tones of 'Nymphs II'. In the time that's elapsed since then, he's started and finished the Darkside project and closed his Clown + Sunset label to concentrate on Other People, which has revealed itself a fruitful endeavour with some 30 releases since 2013. These tracks, penned in NYC between 2011 and 2015 reassert his position between modern composition and dancefloor music: 'The Three Sides of Audrey and Why She's All Alone Now' moves thru the distinct movements, sweeping from ghostly pastoral shades to … Read more
"Bobby Browser’s human counterpart, Andre Ferreira, decamped to Brooklyn last year after nearly a decade in San Francisco but his Pacific moods and Portuguese slang remain undiminished. Clubspinning is his latest EP, culled from a series of 2013 sessions based around a Yamaha SU700 Sampling Unit, the tracks “selected to represent the most unique and memorable performances during that time.” Mission accomplished: “Clubspinning” and “No Attachments” are rich glitterball glides, soft-lensed and silk-spun; “Manchester” a baffling bass-prowler dubbed with synthetic flute and Factory sample… Read more
"Two years ago Maltese musician Rudi Agius aka Jupiter Jax was in London, finishing a PHD in computational biology, awake late and usually alone, when Visions emerged: “My life was literally getting back from the lab, and spending the night (usually till 4-5 AM) making some music… the gloom is something that I love.” Many nights bled into dawn while designing presets for his synths – “sounds that give me feeling” – from which bass lines, beats, and the exploration of “further territory” flowed forth: quartz-clouded, questing house (“Armed For Peace,” “Soul Searching”), foggy breakbeat (“The … Read more
"Companion collection of eight songs sourced from the Visions sessions, offering a parallel cutaway of Jupiter Jax’s crucial, vaporous house. Soft-edged synth-lines sink through thick snakes of bass, freejacked by ice-dusted drum machinations. As elsewhere, a mood of mirage hangs heavy in these pieces – beats lead in circles, acid spirals, shapes waver. Melodies mediate between cloaked glare (“Knowing You,” “Sequential”) and neuromancer strut (“Basic Rhythms,” “That’s The Way,”), the dance blueprints grainy but glowing. The 4 AM context is clear; the tide of life ebbs back and things reveal… Read more
*Kid606 shows his softer side with an ambient suite informed by Eno* “After what would be my last Post-Berghain 9:00 A.M. psychotic break with reality, I knew I needed a change but decided that checking myself into a Berlin psych ward when I still only speak English was probably not the best idea. I realized this kind of thing never happened to me back in California and I should probably just get my shit together and move to Los Angeles immediately. “Reading about how Brian Eno was inspired to create the first ambient album Discreet Music while healing … Read more
**Lossless format for this release is 24 bit / 44.1kHz** After leaving us hanging in 2013 with a delectable 7", Sally Dige commits her debut album of neon noir synth-pop to Night School Records. With the exception of that single's ice cold, 'Losing You', it's all new material, nocturnally skooled in classic 4AD and '80s FM pop, a perfectly manicured balance of cracking drum machine punctuation and swooning synth/vocals expressing a dark, luxuriant sensuality painted in a brooding, new romantic relief. With 'Hard To Please' she nods to the latin freestyle inflections of Madonna, whereas… Read more
Shamir Bailey follows his striking debut, 'Northtown' with a maiden flight for XL. Leaving the house beats behind and placing Shamir front-and-centre, 'Darker' juxtaposes the kind of soulful balladeering your mum, gay uncle or baby sister could sing-a-long to, with a backing of droning organ pads and what could be a squealing choir of harpies. Aye, it's not quite what you'd expect. Bodes well for whatever XL have planned for Shamir...